The Express Tribune

Unsung heroes often work behind the camera, working relentlessly to ensure everything is on point. It starts with a paper and pen and ends with a compilation, a script. It is about time I shine the spotlight on Faysal Manzoor Khan, a talented Pakistani producer and content creator responsible for the entertainment we regularly witness on screen. He has made a mark nationally with many successful and acclaimed dramas that Pakistanis hold dear to this day. As Faysal unveils his personal side, he speaks to me about his past achievements and future projects. Tell me about yourself! I was born on January 1, 1977 in Karachi. I completed my early schooling from the big city in 1996 and my family shifted to Peshawar a few months later. I did my A levels from ILM Peshawar and then moved back to Karachi. The year 2003 was a milestone for me as I enrolled in Karachi University’s Mass Communication department and started working for Eveready Pictures. I have always been an artist. I learnt the art of dancing at the age of four, despite belonging to a conservative Pashtun and Baloch family. There was a lot of opposition in my family regarding this. My grandfather was furious, but my mother took a stand and said,

“My kids will do what they aspire to do.”

Since then, things changed. I never opted for dancing as a profession because of the stigma attached to it. Today I am happy, as it was all a part of the bigger picture. Walk me through your professional life. I love my professional life to the point that it is who I am. I have been able to create stories and characters in Dil Apna Preet Parai, Maike ko Dedo Sandes, Dil Ishq, Zamani Manzil kay Maskharay, Mol, Bholi Bano, Hina ki Khusboo, Sawera, Kiran, Roshni and Maikey ki Yaad na Aaye. I did a project for Seventh Sky as the head of project titled Aurat ka Ghar Kaunsa that won four PTV Awards. I will say, Allah has been very kind! Which of the more popular dramas have you produced, created or written in the past? And why were they successful? I have done more than 100 television dramas and a couple of feature films. Some of my plays were very successful, such as Silsilay – the second highest rated drama ever with a 10.9 TRP, Bholi Bano, Saaya, Mol, Sehra Main Safar, Dil Ishq, Baba Jaani, Koonj, Aurat ka Ghar Konsa and Kahe ko Biyahee Bides. I created most characters and stories. Therefore, I had absolute command over content, which resulted in the success of most dramas. What are your core duties as a content creator? Everything falls under the umbrella of content, including production and casting. The look and true feel of an honest depiction comes through content creation, and I take an active part in all these areas. What do you want your contemporaries to understand about content making? It is not an easy job being a content creator. One has to be devoted and dedicated to the profession, and should understand the social structures that surround us. What are your thoughts on today’s drama serials? Some of them are good, but as of late, I have seen many dramas on child abuse and rape that are intended to generate TRPs in the long run and not improve our society. In storytelling, self-regulation and social responsibility are crucial but unfortunately, many people are not familiar with these terms. As a growing fashion and media industry, we set forth the notion that women deserve better roles. Yet they are portrayed as mainstream victims, not mainstream heroines. Why do you think that is? Our dramas are female-oriented; it is just that the stories are regressive. I have done a few plays in which the female protagonist is portrayed as powerful; Mol, Sehra Main Safar and Kahe ko Biyahee Bides for instance. I hope I can tell stories about powerful women in the future. How is our film industry different from our drama industry? In my case, television is very important. My favourite filmmakers, Krzysztof Kieslowski and Hirokazu Koreeda started from television and ventured to films. In Hollywood, many film actors and directors are working in television. In Pakistan, however, some actors and directors have withdrawn from television, as if it is some kind of a downtrodden medium. I think every medium is of equal importance and has some purpose i.e. to send across messages to reach wider audiences. Where do you see Pakistan’s industry heading in the near future? It will evolve further! What are you doing now? I am working as the head of drama at Babar Javed Films and we will be producing quality dramas and films soon. Prior to this, I was the head of content at a top tier entertainment channel in Pakistan for four-and-a-half years, and worked on almost 50 projects with a success ratio of 90%. What are your new projects? I can’t name them, but I can share the themes with you: social family dramas, horror, romance and spirituality. Have you accomplished everything you ever wanted, or is there room for further exploration? No, I have not. The day I think I have accomplished everything I ever wanted would probably be the last day of my growth. My dream is to tell stories from my perspective and win the Palme d’Or at Cannes one day. Who encourages you to never give up and lose hope? My Almighty Allah. Complete the sentence: ‘I dislike...’ Lies and hypocrisy. Who has been your source of strength in the darkest hour of your life? My mother.

I will conclude with a quote,

“The ways of the mind are ancient but your Self is timeless.”

As hardworking as he is, Faysal is one prolific star of our industry. You don’t have to be a celebrity to earn such a title; it is for anyone who devotes time and effort to a profession and embodies timelessness. Given what he has already accomplished thus far in his career and how he has contributed to television and to our culture, it is a no-brainer that we can expect great things from him in the future as well.

The performing arts are considered a tool for providing entertainment, relaxation and catharsis to society. Before the invention of the television, stage dramas, dancing and poetry were all important mediums in people’s lives, showing just how necessary entertainment is for us. Pakistan’s first official TV channel was launched in 1964, and we soon saw the rise of our drama industry with classic plays like Ankahi, Waris and Tanhaiyaan. However, after General Ziaul Haq’s martial law and the subsequent Islamisation of society, the entertainment industry was not spared either. As a result, the film industry gradually vanished and dramas became more religious and involved more preaching of what Zia and the right-wing deemed acceptable for society. During Zia’s era, culture was mixed with religion and a new narrative was built, suggesting that music, dance and other performing arts were part of the ‘Indian’ culture, not ours. Zia introduced new curbs on entertainment and with the passage of time, this became normalised, with content on TV seeing the rise of religious and moral policing. Though there were exceptions, such as dramas like Andhera Ujala, the industry mostly remained one dimensional in the 90s as well. However, the more progressive era of General (R) Pervez Musharraf in the early 21^st century, as well as the introduction of private TV channels, allowed room for change. General Musharraf had a moderate vision of religion and understood the difference between culture and religion, and this reflected in the content allowed to be seen on TV. Not only did introducing private TV channels end state monopoly over the media, it also gave birth to new ideas and themes which created room for multi-dimensionality. It is undeniable that the change witnessed was prompt and drastic, compounded by the rise in technology. However, far-right groups have had free reign since Zia’s era, and they have maintained the belief that moral policing is a necessity to somehow safeguard the cultural fabric of society created during Zia’s regime. In turn, they have constantly been critical of the new themes seen in TV dramas, with themes like honour killing, rape, drugs, alcohol abuse and even divorce being deemed unethical and harmful for society. In the most recent development, the Pakistan Electronic Media Regulatory Authority (PEMRA) has directed all TV channels to stop airing ‘indecent content’ and produce material in accordance with the sociocultural norms of our society. PEMRA cited that it had received complaints from many viewers who remain unhappy with what they see on TV. They are of the view that scenes showing any degree of intimacy, extramarital affairs, rape, mentions of divorce or even ‘inappropriate dressing’ end up playing a role in spreading immodesty and vulgarity. However, this obviously prompts the question of whether such ‘vulgarity’ already exists in our society, which is why our TV dramas show it in the first place. Does rape not occur in Pakistan? Are women not harassed or killed for honour? Do instances of extramarital affairs and divorce not come to light frequently? Do we not have a drug problem in this country? What we see on TV is meant to reflect the culture that exists, including the ongoing trends and social problems plaguing our society. Creating shows that only engage in moral policing and do not reflect the reality we all live in does not generate viewership, for it does not constitute as art and does not provide any entertainment either. The shows we see on TV today are generating viewership, and what gathers an audience is the inherent ‘talkability’ of a drama, for which it has to be on an issue that resonates with people. Creators of these shows cannot present the social problems or issues of the 80s and 90s and pass them off as problems we face today and also expect the audience to respond to that. The same problem applies to women’s clothing; the more modest fashion from another era cannot be presented with the intention of people taking that show or character seriously. We see a list of prevalent problems in our society. There exists an acceptance when it comes to crimes pertaining to honour, reinforced through traditions like swara, watta-satta and child marriages. Marital rape is not considered a crime, and women are always blamed for the failure of a marriage in case of a divorce. Drugs and alcohol are illegal and yet addiction to drugs and alcohol is somehow growing. This is the reality we live in, and not showing any of this on TV will not miraculously change the statistics we encounter on a regular basis. Another dimension that is neglected here is that of the discourse of civilisation and culture. Civilisation and culture are not static; they keep developing with the passage of time, and new norms and traditions gradually become a part of them. A static civilisation cannot survive in the modern age, for change is the only constant in the universe. If instead of showing the typical saas/bahu (mother-in-law/daughter-in-law) drama, TV shows are focusing on the very real issues of child abuse, honour and rape in our society to break the taboo, then that should be welcomed, not penalised. It is no secret that human impulses cannot be curbed or suppressed by imposing bans. Instead, these shows are presenting the audience an opportunity to connect with what’s going on across the country and relate to the problems they see on screen, making the drama not only a medium of catharsis but also one spreading awareness for social change. Thus, the solution for the ‘vulgarity’ that exists in our society is not to ask TV channels to moderate content and refrain from showing what is a factually correct demonstration of our society. Not only does this kill creativity and restrict freedom of speech, it also takes away from the consumer their choice to see what they find entertaining or interesting. After all, if someone finds these dramas obscene or immoral, there is always the option of changing the channel. Additionally, in the age of Netflix and YouTube, such bans are of no use anyway. The rise of the internet has proven that people do not respond positively to censorship, and such bans on TV will only compel people to watch something else on their phones. Thus, PEMRA’s decision can only be labelled as misguided, suggesting how out of touch the body is with the audience it is meant to regulate. People want to see the kind of content PEMRA wishes to ban, which is why this moral policing we have been stuck with since Zia’s regime needs to be put an end to, not propagated further. Like every civilised society, people should be allowed to express themselves and their views. If someone finds these dramas vulgar, they need to be reminded of the wise words of Saadat Hasan Manto:

“If you cannot bear these stories then the society is unbearable. Who am I to remove the clothes of this society, which itself is naked. I don’t even try to cover it, because it is not my job, that’s the job of dressmakers.”

While highlighting social taboos and evils through local dramas is a bold initiative that our entertainment industry has been taking for around two years now, it doesn’t always hit the mark. At times, our serials normalise things that ought not to be, sometimes in the wake of ratings and sometimes because the makers want to portray situations as close to reality as possible. Recently, the much-hyped drama serial Haiwan, that kicked off the trend of #MyChildMyResponsibility on social media, concluded on a deeply unsatisfactory note. A drama that was meant to give a strong message of protecting children from the predators that lurk in ordinary and familiar faces ended very ineffectively and disappointed viewers to say the least. https://www.youtube.com/watch?v=rO6NA4J_6PA The story revolved around the sexual abuse and murder of a little girl named Masooma. The heinous crime was shown to be committed by Hameed (Faysal Qureshi), the father of the victim’s best friend Jojo, who also lived next door. Hameed is shown to be a respected and charitable individual who had committed the ‘sin’ or ‘mistake’ under the influence of alcohol. Apart from indicators showing his unstable mental state, nothing else is revealed about his background and there is no backstory to comprehend why he would not only rape but also murder a child. The writer does not even show any details about Hameed’s possible mental illness. As a viewer, all you see is that a mentally disturbed man raped and murdered a 10-year-old because he was probably not in his senses. That’s how easy it is to pass away child rape and murder for our show creators. *Spoiler alert* It was, however, the last episode that was the biggest disappointment and completely destroyed the essence of the drama. Firstly, no legal action is taken against Hameed for his paedophilic ways. He is handed over to the police by his family, but sometime later the police call his son and reveal that medical reports proved Hameed to be mentally unstable and hence the court released him. Hameed then spends his time at a shrine in a state of unrest, begging Allah to forgive him for his sin. Then one day he comes across Masooma’s mother and falls at her feet to beg for forgiveness. The victim’s mother later sees her deceased daughter at the same shrine waving happily at her, and it seems she forgives Hameed. Although the ending is heart-wrenching and triggers all possible emotions within the audience, it was not right at all. Yes, the unfortunate reality remains that in most such cases in Pakistan, parents end up forgiving abusers and murderers (perhaps due to honour or security issues caused by social class differentials). However, there is no point in airing a show specifically written to create awareness on this issue if the message it sends is to forgive your child’s abuser and murderer if he feels guilty and seeks repentance for his crime. Hameed should have been prosecuted in any case and either kept imprisoned or sent to the gallows, the way we saw done to Dabeer, who was the paedophile in the popular show Meri Guriya. In Meri Guriya, which focuses on a similar issue, while Dabeer’s mother repeatedly sought mercy from the victim’s mother, there was no forgiveness from her end. Instead, she remained determined to make Dabeer’s fate a lesson for all those who could even think of committing such a crime. Dabeer was thus hanged to death in a public square and punished by law, bringing the drama to a very meaningful and educating conclusion. Alternatively, the makers of Haiwan could have also presented a sound story to prove Hameed’s mental illness right from the beginning; something to really make the audience believe that Hameed was actually mentally unsound. Even something along the lines of Hameed having been abused as a child might have given the audience some insight into his character without justifying his crime. Presenting child rape and murder committed as just another sin in the heat of the moment makes it seem justified as a trivial offence, such as lying or breaking someone’s heart. The medium of TV dramas is the best way to educate the masses in Pakistan, and in this endeavour, the team of Haiwan failed. They did not send the strong message they were capable of sending through a meaningful conclusion to the story; a conclusion we could have learned from, the way we did when Meri Guriya ended. Rather, dramas like Haiwan end up underplaying horrific crimes such as rape and child abuse that remain rampant in our society by showing no accountability for the crime committed. This is not even the first time our dramas have portrayed child abuse and rape in a problematic manner. In 2017’s Muqabil, child abuse survivor Parisa (Kubra Khan) was shown to marry Armaan, the son of her rapist, in order to punish him. The rapist was the driver at their house who raped Parisa when she was 10-years-old, and for some reason, Parisa is shown choosing to live in the same house as her rapist and his son. Anyone can tell that in normal circumstances, survivors of child abuse would find it immensely difficult to face their abuser again, let alone marrying their children so they could live in the same house. The same show portrays the rapist as a decent individual who made this one mistake of raping a child and then proceeded to regret it his entire life. How is this different from making fun of the pain victims of abuse go through? We really need to stop glorifying abusers and presenting them as otherwise decent individuals when they are not raping and killing children. Yes, it is very important to highlight the issues present in our society, but it is equally important to not make it socially acceptable to simply forgive abusers and child murderers for the crimes they commit. Over the past several years, the topic of child molestation and sexual abuse has become a favourite for local drama creators, but increasingly it feels like this is being done to sensationalise the issue, and in turn earn ratings. Udaari, Muqabil, Dar Si Jaati Hai Sila, Meri Guriya and Haiwan are a handful of dramas on this topic that come to mind immediately. There were many others that were perhaps less memorable. Highlighting social taboos such as these is a great step, but is now becoming redundant, as it distracts viewers from an actual message. If the industry wishes to take up this important topic, then it must realise its responsibility to do a better job. If not, then I believe it’s high time we dig deeper and extract other taboos and social evils to refresh our redundant storylines and educate the masses on important issues such as child labour, cyber bullying, single parenting and women empowerment. Hopefully they will do a better job with a different topic. All photos: Screenshots

Bidding adieu to 2018 with some great Pakistani dramas, our local industry has welcomed the new year with even better ones. Thankfully, we are finally over the typical and redundant saas-bahu sagas, and show runners are venturing into arenas that have remained untapped thus far. The latest attempt to bring something new to the palate of drama lovers is the drama serial Cheekh. Starring the stunning Saba Qamar and heartthrob Bilal Abbas Khan in the lead roles, this new show is something very out-of-the box as we have not seen anything similar coming from our drama-makers in the recent past. https://www.youtube.com/watch?v=Dy8g9JvnpOE Intelligently scripted by Zanjabeel Asim Shah and brilliantly directed by Badar Mehmood, the story revolves around a mysterious incident that takes place in the house of a well-reputed or ‘shareef’ and ‘khandaani’ family, who are willing to go to extreme lengths in order to ‘save’ their honour. The story is about three friends, Mannat (Qamar), Haya (Azekah Daniel) and Nayab (Ushna Shah), who share amazing chemistry and are really close. Mannat is married to Haya’s brother Shayan (Emmad Irfani) and the two plan to marry Nayab to Haya’s younger brother Wajih (Khan), who is also the main antagonist of the play. Mannat and Haya belong to the upper class while Nayab is from a lower middle class background and has a tough life compared to her friends. She also has a cunning and greedy stepmother who is always plotting on cashing in through Nayab. Meanwhile, Mannat treats Nayab like her own sister and pulls all the stops to keep her happy, and Nayab also treats Mannat like her greatest confidante. In a span of six or so episodes, this play has spun a web that has managed to tightly entangle the audience. It began on a subtle note and developed all the main characters, but quickly proceeded to lay out the drama as Nayab fell off the roof during Haya’s engagement ceremony, which is where the story took a mysterious turn. While Mannat initially believes this was Nayab’s suicide attempt as she was depressed, an investigation revealed that someone attempted to rape her and either pushed Nayab off or she jumped to save herself. What really happened is a mystery both the characters and the audience are trying to solve. The show has undoubtedly become the current obsession of all drama lovers. https://www.youtube.com/watch?v=wleg4Az3p80 Here are five reasons why I believe every Pakistani should be following this intriguing serial eagerly: 1. The suspense and intrigue Cheekh has an element of mystery that we rarely find in our regular soaps and serials. Six episodes down, we are still wondering what happened to Nayab. The director has intelligently gripped the attention of the audience, leaving us with a right mix of curiosity and suspense. Even after Nayab’s statement to the police on her death bed where she clearly hints towards who the culprit is, he still manages to evade being discovered. This is one of the main reasons why people are following every episode, waiting for the mystery to be resolved soon. 2. A power-packed storyline Cheekh is not a regular love story or a family drama; it brings to the fore a unique storyline. It is a story of a woman who dared to stand against her own family to demand justice for the injustice meted out to her closest friend in her own home. It is the journey of a woman who fights for truth, the obstacles she faces during her struggle for justice, and how she will eventually overcome them all. Given the content we are familiar with, this is indeed a daring storyline. 3. Something for the audience to think about Cheekh will leave the audience with a lot of feelings about a number of social issues, particularly women empowerment. It calls on women to break the locks of silence and speak up against the injustices meted to them or the women around them. At the core of its story, it reminds us to not to bow down to any kind of oppression. In a recent interview, Qamar also revealed that Cheekh is about the injustices that exist in our society and the ill-practice of suppressing the voices of reason. The makers have promised to give out the message of #NoMoreSilence through this show. Earlier, they released a video featuring some of the best female actors from the industry – the likes of Marina Khan, Sania Saeed, Sarwat Gilani and Sharmeen Obaid Chinoy – encouraging women in our society to speak up for themselves and to not stay mum over the damaging social norms and rampant misogyny. https://www.youtube.com/watch?v=Zqki3s2hMbo 4. Saba Qamar’s comeback Cheekh marks Qamar’s comeback after almost a year-and-a-half away from the small screen. She was last seen in the powerful role of Qandeel Baloch in the brilliant show Baaghi, for which she received multiple awards and critical acclaim. Qamar is known for choosing substantial characters and powerful scripts, and her being the protagonist in Cheekh is yet another reason the audience is sure this show will not be a waste of our time. Audiences in Pakistan and abroad are in love with Qamar and acknowledge her vast talent, while her performance in Cheekh also clearly stands out from other cast members, especially her dialogue delivery and outstanding facial expressions. 5. Tackling sexual assault Our drama industry has lately been focusing on shedding light on taboo topics, particularly child abuse and sexual assault. Cheekh also deals with the shocking attempt of sexual assault on a young girl during her friend’s engagement ceremony, but what sets it apart from other dramas on said topic is that it has thus far not shown any indications of romanticising abusive men or presenting them as heroes. This gives some hope that this might be the one show that ends up actually punishing the culprit and holding him accountable, instead of forgiving him or marrying him off to the victim or another girl as ‘punishment’. One hopes the makers continue with the sensitivity maintained thus far in tackling this issue. Apart from this, the soundtrack of the play in Asrar’s soulful voice has also played a significant role in attracting the audience. Its lyrics are powerful and deep, and one cannot stop reflecting over them before witnessing the content of the episode. The background score is also on-point and captures the essence of the drama really well. https://www.youtube.com/watch?v=jyWixr9kH_A Cheekh is indeed a great and daring step, and it would not be wrong to say that our industry is maturing with time, reflected in the type of content we get to see on our small screens. Our industry is no longer confined to producing content only for pointless entertainment, but is also trying to fulfil the social responsibility of educating audiences on topics frequently brushed under the carpet or kept behind closed doors. We are definitely looking forward to upcoming episodes of Cheekh, and also to other powerful and unique dramas along similar lines. All photos: Screenshots

Amongst the current trend of depicting social issues and taboos through the medium of TV dramas, the hit show Khudparast takes the lead, as it encompasses everything wrong within our society. The story revolves around the life of a lively girl named Uswa (Ramsha Khan) who doesn’t believe in living by the rules. She has brothers who are all married, and her free spirit is a thorn in the flesh of their wives, as they are constantly plotting to bring her and her older sister, Mariah, down. Their constant hatred towards their sisters-in-law is unbelievable, and yet shockingly uncanny. However, Uswa and Mariah do not exactly act as role models either, for they administer their fair share of torture as well. As the drama proceeds, Uswa receives a marriage proposal from a ridiculously wealthy family. This is where things begin to get interesting. Bakhtawar (played by the very talented Asma Abbas), a woman who brings a marriage proposal for her younger son Hanan, marches out upon discovering that the girl they came to propose for is rather liberal and cannot be subdued. However, the sisters-in-law consider this an opportunity to get rid of Uswa once and for all while also killing her fiery spirit, so they do some plotting which immediately brings the proposal back. Now although the pairing is obviously a complete mismatch, Uswa’s mother immediately accepts the proposal as she is blinded by the dazzle of money and gold, unaware that she was throwing her daughter into a pit-hole. As expected, all hell breaks loose for Uswa after marriage as she has to bear constant verbal, physical and mental abuse from her in-laws. She’s not allowed to stay out late, not even with her husband, spend nights at her mother’s home, or meet any outsider without being covered from head-to-toe in an abaya. Uswa feels alone and suffocated, because every time she complains to her sister or mother, she is shut down by the comment:

“You have money, what else can you possibly want from life?”

Though a major theme, the show is not restricted to showing misogyny and the suppression of women after marriage. It goes further to highlight several other serious issues, such as the hypocrisy rampant in Pakistani society. Uswa’s in-laws are shown to be the perfect example of a religious family at first glance, but if you look beyond the surface, you see the demons they are trying to hide through their money. For example, Uswa’s mother-in-law – who goes to Tafseer every single day and has probably never let the dupatta fall from her head in any episode – is also shown to have never prayed a single prayer in her life, let alone open the Quran in private. Her eldest son frequently drinks and has extramarital affairs, which his super religious mother is aware of. When her daughter-in-law complains about the affairs, she is told she is at fault, not her husband – a typical patriarchal response common in our society. Similar to the eldest son, the younger one also has severe anger management issues, and both brothers beat their wives as an expression of their manliness. Despite being a woman, the mother-in-law not only promotes this behaviour but considers it an essential part of maintaining order in her house. However, this hypocrisy is not only limited to Uswa’s in-laws, but finds its roots deep within her own family as well. Her mother, who is shown to be an exceptionally greedy woman, teaches her daughter tactics to take her in-laws down while taking over their wealth simultaneously. Unlike most mothers, her priority is money and wealth rather than her daughter’s security and happiness. She is constantly shown telling Uswa that as long as she gets monetary benefits, a little bit of abuse is nothing she can’t handle. Later in the show, the same mother is shown to be terrified of the thought that her daughter will face karma for all her wrongdoings, which is completely ridiculous because it was she who forced her daughter to do it all in the first place.

Similar to her mother, Uswa’s brothers, who are shown as mere puppets for their wives, start seeing their sister as an ATM. Like her mother, they too cash on her miseries and live a luxurious life off of it. Additionally, throughout the show, Uswa is shown developing a deep hatred for Beenish (Nausheen Shah), the wife of Hanan’s older brother. For no reason whatsoever, she sets out to destroy Beenish’s life, constantly taunting her for being a submissive wife and daughter-in-law, as well as framing her for having an extramarital affair with Hanan. To prove her allegation, Uswa swears on her unborn child that she is not lying, which leads to everyone believing her. However, later in the show, she is shown having a miscarriage after a tree falls on top of her during a storm, the incident depicting how easily some individuals lie and hurt others, forgetting what goes around comes around.

This show is a true depiction of the disgusting side of an orientalist society that is Pakistan. It captures the essence of a society where culture matters more than basic human rights, where religion is malleable according to the wishes of the powerful, and where hypocrites thrive while the honest suffer. https://www.youtube.com/watch?v=B5_OzpbqiPg This is a society where a woman is treated as no more than a robot or a baby machine, lacking all emotions and devoid of pain. Where she is seen as a doll, praised and objectified for her beauty. Where her character is considered as fragile as a film of ice over water, cracked by the slightest touch. Where she is not a human being but a marionette expected to dance along the wishes of the puppeteer, and if she fails to do so, she is severely punished. She is, after all, merely an object, and can be played with, broken or thrown away as her masters (men) please to do with them. Thus, the victim is blamed while the oppressor walks free. All these concepts are strongly depicted in this one drama, truly making it one of a kind for the industry.

Dramas such as Khudparast are more than just plain boring tales of love, marriages and breakups; they highlight the reality we all exist in. Portraying these issues on the small screen is a great way of spreading awareness and maybe triggering some introspection within those who make a habit of abusive or malicious behaviour. Perhaps this will take us one step closer to eradicating such evils from our society altogether. Hopefully, our drama industry will learn from powerful shows like Khudparast and continue hitting us with hard-hitting messages instead of the vague love stories we have all grown tired of by now. All photos: Screenshots

For much of the 2018-19 season, Real Madrid’s campaign has been driven by pessimism and trepidation. From mediocre performances on the field to a lack of purpose off it, the Los Blancos found themselves entrenched in a diatribe with a swathe of negative opinions from fans and critics alike. But the return of the clubs’s favourite son Zinedine Zidane after his dignified exit nine months ago has cut through all the noise, at least for the time being. Zizou’s work is cut out for him as the rebuilding job at a club like Real Madrid, with extremely high expectations, won’t be an easy task by any stretch of the imagination. https://twitter.com/kevinchimuka/status/1113392173150502914 However, unlike towards the end of his last tenure, Zidane will have financial backing from the club. A report from The Independent claimed “Real Madrid president Florentino Perez has promised Zidane an expensive overhaul,” immediately after the Frenchman’s arrival. A few days later L’Equipe’s front page (titled Casino Royal) stated that: “Perez is ready to show faith in Zidane to turn the ship around by giving him a €500 million summer budget.” If Madrid are keen on spending heavily in the upcoming summer transfer window, they will have to do it wisely, bearing in mind their current expectations and without compromising future ambitions. Defence Real Madrid’s defence is, arguably, the least concerning aspect of their squad. Sergio Ramos and Raphael Varane might not have had the best of seasons, but they still form a formidable pairing in the centre of defence. But with Ramos aging and especially if Varane decides to leave, Madrid would need adequate replacements in order to beef up their backline options. Looking at the options, three names stand out in particular. These include Napoli’s Kalidou Koulibaly (27), Inter Milan’s Milan Skriniar (24) and Ajax’s Matthijs de Ligt (19). [caption id="" align="alignnone" width="600"] Kalidou Koulibaly during the Serie A match between US Sassuolo and SSC Napoli at Mapei Stadium - Citta' del Tricolore on March 10, 2019 in Reggio nell'Emilia, Italy. Photo: Getty[/caption] All three have no obvious weaknesses and possess the ideal skill set expected from a defender (strength, positioning and ball playing skills), supplemented by the fact that they are young enough to be part of the club for a very long time. While Madrid would be happy to bring in any one of these players, Skriniar would be cheaper as compared to the other two, considering the absence of a release clause in his contract with Inter. [caption id="" align="alignnone" width="600"] Milan Skriniar of FC Internazionale competes for the ball with Danny da Costa of Eintracht Frankfurt during the UEFA Europa League Round of 16 Second Leg match between FC Internazionale and Eintracht Frankfurt at San Siro on March 14, 2019 in Milan, Italy. Photo: Getty[/caption] The 24-year-old also offers an added dimension of having played as a defensive midfielder with the Slovakian national side, and consequently can provide cover on two positions while also aiding in-game tactical switch. Midfielders Real Madrid have a substantial amount of talent in the centre of the park, with an impressive blend of young (Marcos Llorente, Fede Valverde and Dani Ceballos) and experienced players (Luka Modric, Toni Kroos and Casemiro). In order to cater to an aging Modric and take off pressure from Kroos, Madrid need a couple of additions to their midfield. However, they don’t need to spend heavily in this regard as the players they have loaned out – James Rodriguez to Bayern Munich and Mateo Kovacic to Chelsea – will be ideal suitors. Rodriguez’s incisiveness in the final third, both in open play and dead ball situations, will add creativity in central positions. This is of particular importance because a majority of Madrid’s attacks are wing-based, which is why the Colombian’s presence will stretch opposing defences and bring more unpredictability going forward. Also, through his quotes in the press, the midfielder has also indicated that there is no love lost between him and the Spanish giants, despite being left frustrated for playing time under Zidane previously. [caption id="" align="alignnone" width="600"] James Rodriguez of FC Bayern Muenchen controls the ball during the Bundesliga match between FC Bayern Muenchen and 1. FSV Mainz 05 at Allianz Arena on March 17, 2019 in Munich, Germany. Photo: Getty[/caption] Kovacic might not have had the best of seasons at Chelsea, but he can still play a vital role in The Whites midfield with his ability to play line-breaking passes; a trait which is of pivotal importance, especially against many La Liga sides who like to sit deep and defend. Also, the Croatian’s best time in Madrid colours came while playing under Zizou, which makes a strong case of having him back in the Spanish capital. [caption id="" align="alignnone" width="600"] Mateo Kovacic of Chelsea in action during the FA Cup Fifth Round match between Chelsea and Manchester United at Stamford Bridge on February 18, 2019 in London, United Kingdom. Photo: Getty[/caption] Forwards Ever since the departure of club legend Cristiano Ronaldo, the talk surrounding Real Madrid’s attacking pedigree has shown no signs of subsiding. Since the departure of the Portuguese, the goals have significantly dried up for the Los Blancos and hence the need for some clinical finishers in front of the goal is, probably, more than ever. Talking about forwards, one player that has constantly been linked with Real Madrid is Chelsea’s Eden Hazard. Although there is no doubt about the Belgium international’s footballing prowess and he will also be a seamless fit at Real, signing him now, at the age of 28, would mean the club shelling a lot of money in return for only two to three peak years. While it would be unfair to totally rule out a move, the club should only consider Hazard as a fall-back option. [caption id="" align="alignnone" width="600"] 31st March 2019, Cardiff City Stadium, Cardiff, Wales; EPL Premier League football, Cardiff City versus Chelsea; Eden Hazard of Chelsea looks back at a missed chance. Photo: Getty[/caption] Moving on, Paris Saint-Germain’s (PSG) Kylian Mbappe, despite being an ideal solution to Real Madrid’s goal scoring troubles, is a long shot considering his massive price tag. Although there are plenty of rumours in the transfer market regarding his move to Spain, the French club will go all out to keep the 20-year-old star at the club, keeping in mind the fact that he is at the core of their European ambitions. [caption id="" align="alignnone" width="600"] Kylian Mbappe of PSG celebrates a goal during the Ligue 1 match between Paris Saint Germain and Guingamp at Parc des Princes on January 19, 2019 in Paris, France. Photo: Getty[/caption] Taking into account all the factors and realistic options available on the market, Real Madrid will be better off if they work on the lines of signing Liverpool’s Sadio Mane and Inter Milan’s Mauro Icardi. Mane’s pace and technical ability has been part and parcel of Liverpool’s success in the past couple of seasons, and he will add a lot of potency to Real Madrid’s attack. Although he has played mostly as a winger for The Reds, if need be, he can play in a more central role as a striker as well. In Mane, Madrid will find a willing worker, who can track back and help out with defence and also link up well with Marcelo Vieira on the left wing. [caption id="" align="alignnone" width="600"] Sadio Mane of Liverpool FC runs with the ball during the Premier League match between Liverpool FC and Tottenham Hotspur at Anfield on March 31, 2019 in Liverpool, United Kingdom. Photo: Getty[/caption] On the other hand, Icardi has stacked up some great numbers for his Italian club with his lethal finishing. He may not participate much in build-up play but his positioning and movement in front of the goal is particularly impressive. Real Madrid have been guilty of creating lots of chances but not converting them during the ongoing season, but Icardi’s signing should go a long way in changing that. [caption id="" align="alignnone" width="600"] Mauro Icardi of FC Internazionale scores the second goal during the Serie A match betweenGenoa CFC and FC Internazionale at Stadio Luigi Ferraris on April 3, 2019 in Genoa, Italy. Photo: Getty[/caption] To Madrid and Zidane’s advantage, being knocked out of the title race on all fronts is somewhat a blessing in disguise, as it gives them additional time to plan for the future. But the 13-time European Champions will have to be clever with the way they go about their business in the transfer market, before it builds up more scar tissue against their name as a formidable force in the world of football.

The United States has introduced a United Nations Security Council (UNSC) resolution to blacklist Masood Azhar as an international terrorist. Azhar is the leader of Jaish-e-Mohammed (banned in Pakistan since 2002) and has been blamed by India for masterminding February’s Pulwama incident, even though no evidence has been produced which links Azhar to the incident. China has refused to list Azhar as an international terrorist after careful consideration of the definition of international terrorism according to international law. China has made this position absolutely clear and as such, it would appear that the US is looking to transform the UNSC into a place of high stakes geopolitical theatre, because China’s veto of the US resolution is inevitable. The US therefore is using the internationally immaterial issue of Azhar in order to provoke tensions between China and India at a time when the ruling Bharatiya Janata Party (BJP) is already invoking blood-curdling Sinophobia in further attempts to rally the jingoist Hindutva vote. But this is not all that the US is doing. Washington is also provoking and in fact insulting Pakistan by suggesting that a local matter is worthy of wasting the UN’s time, even after one of the permanent members of the Security Council has made its position unambiguous. As if on cue, India’s jingoistic media kicked into high gear suggesting war against China. Meanwhile, members of the BJP and the Rashtriya Swayamsevak Sangh (RSS) continue to call for a boycotting of Chinese goods. When it comes to Pakistan however, America’s willingness to inflate the international importance of Azhar makes it clear that the US is willing to risk productive relations with Pakistan in order to both placate India and to goad India into an even more extreme position vis-a-vis China (not that the BJP needs much help in this respect). Although the US has admitted that Pakistan’s role in the Afghan peace process is crucial, beyond this, the US has clearly made its decision in terms of a long term strategy in South Asia. While some US diplomats will feign attempts at a balanced South Asia policy, the reality is that India is now a key US strategic partner. US diplomats at the UN will happily do India’s bidding, even over a matter as absurd as trying to convince the world that Azhar is an international terrorist when legal precedent says otherwise. Pakistan must adjust its own expectations accordingly. While it would be imprudent for Pakistan to provoke any superpower, the message that Washington is not so subtly sending is that when it comes to a superpower partner, China is the singular key to Pakistan’s prosperous future, while the US is becoming little more than a puppet master helping direct flagrant Indian aggression against China. This is all the more reason for Pakistan to take a more assertive role in the Afghan peace process. As the country most directly affected by Afghanistan’s prolonged status as a failed state, Pakistan has no excuse not to emerge as an international leader in driving forward an all-parties peace process. Any idea that Pakistan should merely shadow the US in respect of the peace process should now be put to rest, as it is clear that the US has India’s strategic desires at heart and that, by comparison, Pakistan’s security needs come a very distant second or even third. The reality Pakistan must now face is that whilst America’s priorities in the South Asia during the 80’s related to containing Afghanistan to the West and the Soviet Union to the North, today the US is squarely focused on provoking China and for this, India will remain a key ally of Washington. All that Pakistan must now do is acclimate itself to a new reality where China’s all-weather friendship will grow in stature and material importance while the US will be willing to insult, debase and ignore Pakistan as though the events of the 80’s never occurred. This post was originally published here.

Following the Marvel path, The Conjuring universe has grown steadily over the last six years through both, the increasing returns that most films in the franchise have delivered and in stature through the critical acclaim that the first two Conjuring movies received. Now five movies in, the franchise is showing no signs of slowing down with a third Conjuring film already set for 2020. But before that, we’re getting another Annabelle movie. And this one promises to be much different than its predecessors. [caption id="attachment_81026" align="alignnone" width="600"] Photo: IMDb[/caption] Annabelle Comes Home, which will serve as the sixth film in the Conjuring franchise and the third Annabelle film, does not take the prequel route like Annabelle: Creation did. Unlike the first Annabelle, which was widely panned for being a rudderless and aimless production, this film shifts the focus directly towards the Warren family – the paranormal investigators played by Patrick Wilson and Vera Farmiga who served as the protagonists of the first two Conjuring films. [caption id="attachment_81027" align="alignnone" width="600"] Photo: IMDb[/caption] The first trailer, which came out recently, sprinkles a handful of jump-scares throughout its two and a half minute runtime and the film more or less appears to centre on an artefact room where the Warrens keep the demonic doll. However, soon enough the doll begins turning up in strange places and much to the surprise of the Warrens, so do the other artefacts. The weight of this is felt by the Warren’s 10-year-old daughter, Judy, and her friends who seem to be at the centre of the latest Conjuring film. [caption id="attachment_81024" align="alignnone" width="598"] Photo: IMDb[/caption] By all accounts, Annabelle Comes Home seems like a much more small-scale film as compared to its predecessors which were much more expansive in scope. And though the Warrens are back, they don’t seem to have a central role in the film in the same way as their daughter does. This is promising because it means that perhaps this time the focus will be on a tightly-constructed narrative, which is where horror films work best. [caption id="" align="alignnone" width="600"] Photo: Screenshot[/caption] As evidenced by the trailer, it’s perhaps also safe to assume that this film won’t just be about the titular doll but will also focus on some of the other haunted artefacts in the Warren family’s possession which, if anything, may provide the producers with a few more ideas for some future spin-offs. In the context of this film though, it will undoubtedly add to the scares. This is something that producer James Wan has confirmed when he essentially described the film as being Night at the Museum with an evil doll because of the various haunted artefacts that will be activated in the film. [caption id="attachment_81031" align="alignnone" width="600"] Photo: IMDb[/caption] The good thing is that Annabelle Comes Home seems to channel all the elements that have made the Conjuring franchise such a big success, which provides the viewer with something to look forward to. After straying away from the central narrative and focusing on aimless origin stories, the franchise seems to have finally learned its lesson. With Annabelle Comes Home, the focus seems to have been shifted back towards the scares and, in a blatant but smart bit of fan-service, the filmmakers have brought back two of the franchise’s most beloved characters, even if it’s in a supporting capacity. That said, only time will tell if the latest installment in the Annabelle saga matches up to the Conjuring movies, which at present, stand head and shoulders above the other films in the franchise. [caption id="" align="alignnone" width="600"] Photo: Screenshot[/caption] Annabelle Comes Home hits cinemas on June 28, 2019.

“Our message is stronger than ever. Please stop the fighting. Please stop the killing. Please drop your guns.” Juan Antonio Samaranch, President International Olympic Committee speaking at the Winter Olympics, 1994. The sports arena has often been used in modern-day diplomacy to advocate for peace, but it has also been used to aggravate existing conflict. George Orwell wrote in The Sporting Spirit (1945) that sports is “war, minus the shooting” and has the potential to bring out the worst characteristics of nationalism. How that is controlled, or even amplified, is in the hands of those who hold the political controls. In the days following the Pulwama incident, tensions once again began to escalate between Pakistan and India. While India’s very first reaction was the imposition of a heavy economic sanction, many of the responses which followed came in the form of sports sanctions, primarily impacting something very close to the hearts of people on both sides: cricket. The fourth edition of the Pakistan Super League (PSL) became the primary target of the increasing hostility and vitriol. Prominent Indian-owned media companies and broadcasters, including IMG Reliance, D Sports and CricBuzz, terminated their contracts and coverage of the tournament, leading to a virtual PSL blackout in India. The Board of Control for Cricket in India (BCCI) also came under extraordinary pressure from prominent Indian sporting personalities, media outlets and ordinary citizens, to boycott the upcoming Pakistan-India match at the cricket World Cup (June 2019). https://twitter.com/YusufDFI/status/1097384109200928768 https://twitter.com/MinhazMerchant/status/1099007211689467906 Outside of cricket, other sports have also been effected. It is suggested that Pakistan supplies 90% of the hockey sticks used in India, and would suffer heavily from an increase in customs duty of 200%. As a result, the hockey fraternity in India would have to quickly find new suppliers who could match the demand, as well as replicate the quality from across the border. The Shooting World Cup, which was taking place in New Delhi a week after the attack and was intended to be an Olympic qualifier, also got dragged into the conflict when Pakistani athletes were not granted visas to participate in the tournament. Further economic sanctions would come later, followed by military responses, but it appears that the use of sports sanctions was going to kick start this ‘Operation Isolation’. However, these sanctions did not prove to be effective in isolating Pakistan on the sports field. We saw the PSL replace its distributors almost immediately and have yet another successful edition. Regarding the World Cup, wide coverage of the discussions between the BCCI and the International Cricket Council (ICC) were made public, including copies of the communication between the two bodies. It is clear that the ICC and the organising team of the World Cup do not condone any political battles being played out on the cricket pitch. https://twitter.com/TimesNow/status/1098065107693625344 Perhaps the most surprising stance came from the International Olympic Committee (IOC) in response to Pakistan’s plea regarding the Shooting World Cup. Not only did the IOC revoke the tournament of its Olympic qualification status for the particular discipline, they further went onto suspend all discussions with the Indian government regarding hosting future sporting events in India. The IOC also recommended that all international federations should refrain from hosting any international sporting events in India until written guarantees are provided assuring participation of all athletes. This may prove to be a landmark ruling from the Olympic governing body, which has traditionally not taken such a publicly strong stance on political matters. This is especially true as the initial plea was only to do with the shooting event. However, India is no doubt going to work to revoke this suspension as quickly as possible, even if it means salvaging its ties with Pakistan. Failure to do so could mean that a number of its hosting rights and bids would be up on the chopping block, including the FIFA Under-20 Women’s World Cup (2020), the Hockey World Cup (2022/2023) and ICC Cricket World Cup (2023), among others. https://twitter.com/mehreenzahra/status/1098830460862558208?ref_src=twsrc%5Etfw%7Ctwcamp%5Etweetembed%7Ctwterm%5E1098830460862558208&ref_url=https%3A%2F%2Fblogsdesk.tribune.com.pk%2Fapplication%2Fwp-admin%2Fpost.php%3Fpost%3D80906%26action%3Dedit This of course is not the first time tensions have escalated between the two neighbours, nor is it the first time that the field of play is used for sanctions to be deployed and political statements to be made. India-Pakistan cricket relations have been turbulent ever since they kicked off in 1952. There have been many positive outcomes where both countries have hosted each other on multiple occasions and opened up their borders for citizens to travel in support of their teams. At the same time, boycotts from governing bodies and protests from ordinary citizens have also had the opposite impact on cricket and other sporting ties between the two nations. The Indian cricket tour to Pakistan (2004) is considered as one of the four most prominent acts of sports diplomacy, with the ‘Christmas Truce’ of World War I (1914), where German and British soldiers were said to have held informal sessions of casual football on Christmas day, being number one. Even outside of the subcontinent, sports have always been a feature of international diplomacy, albeit a more subtle one. We have seen countless protests and boycotts when it comes to international sports, such as the Black Power Salute (at the 1968 Olympics), America’s boycott of the 1980 Olympics during the Cold War, the Soviet Union’s boycott of the 1984 Olympics, and the international sporting boycott of Apartheid South Africa. However, it would not have been difficult to foresee the potential for sports to have these impacts when the Olympic movement was first initiated. After all, it was developed on the sole idea of using sports to encourage and improve peace among the warring kingdoms in Ancient Greece. The way international sports are conducted and covered today, indicates their potential and ability to bridge gaps between nations. With massive potential to be used as a catalyst in international diplomacy and break barriers, the power of sports can only be as strong as the will and commitment of our global leaders. In an era where hard power is frowned upon by the international community, governments are increasingly inclined to use alternative modes of diplomacy, sports included, to achieve their political goals and shape their international image. If we, the people, can understand the relationship between the two, then we can also influence its impact. This isn’t the first time sports have been used to convey and act upon undertones of conflict and hate, and it unfortunately won’t be the last. For now, we can be aware of how these actions relating to the field of play can be used to condition or influence certain emotions within us, and also pray that our leaders use the pitches and courts to help us come together, rather than to push us apart.

The sky was a pool of black ink, dusted with stars at midnight. Arsh looked out from the window — she saw many little streets sprawled out below. She had only known these streets from inside the walls of her room. She had never walked on them. She had never been under the open sky. She looked at these streets longingly. To her, these streets and everything else of the outside world was a distant dream. Arsh was thinking about him. He came again tonight. Her caramel skin flushed bright pink as he folded her into his arms. Her heart fluttered as his fingertips grazed her bare skin. She had never felt so close to a man before. Over the years, many men held her, touched her, felt her — but he was different from all the others. She fell in love with him. She waited for him each night. She longed for him, as any lover would. On the nights he didn’t come, she was restless. She waited for him till she saw him next, till he told her how beautiful she was. As she stood by the window and watched darkness engulf the sky, she decided she’d tell him what she felt for him. Maybe he’d take her away somewhere far. Maybe he’d relieve her of this life. Overhead, a star blinked in the dark sky, as if telling her it was time. The morning sun filled the brothel. It was bright inside. Arsh slipped into plain white clothes and went downstairs. The morning is always bright. It’s the night that’s dark. It’s always the night that’s dark. “Arsh!” Farnaz called, with a cigarette clenched in the corner of her mouth. “You look happy! I’ve never seen a bigger smile on your face.” “I’m going away,” Arsh said in low voice, so that nobody else could hear. Farnaz laughed. But then her eyes were suddenly wide with concern, and her skin shone pale under the gleam of sunlight. “You know you can’t go away,” Farnaz said quietly. Arsh smiled in reply and bustled away. The rest of the day, she was tangled in her thoughts. She didn’t even know his name but she knew he was the one who’d save her. The world glittered with promise. “Take me away!” Arsh whispered into his ear. There was a steely glint in his eyes. “Please take me away!” Arsh’s voice crackled at the edges. He slapped her so hard her teeth rattled. “You’re a whore,” he spat. Arsh swallowed everything else that she had to say. The words dried up in her throat. It was near dawn but Arsh was wide awake. She looked into the mirror, her dark eyes sunken in an ashen face, stared back at her. Her lips were stained in a dark, blood-like red. Her hair, black and velvety like the sky at midnight, carelessly tumbled down her back. Her angarkha, heavily embroidered in gold and silver threads, danced around her when she moved. 'A whore,' she thought. She felt sparks of resentment cascading in her as she looked at herself. She felt angry. But then her anger melted and she started crying. And as a tear caught in her lip, she realised her lipstick was smudged at the corners. His words filled her head. They were sharp, piercing—they cut through her like knives. Even after he left, the word ‘whore’ twisted inside her. It crushed her. It tinted her entire existence. It was a small word but it encompassed a bitter world — a whore’s world. Arsh had endured years of abuse. There were different men in her bed each night. They treated her like an object. They used her and then discarded her. She was perceived as an unthinking, unfeeling being. Her existence only sparkled in the dark hours of the night. They forgot she was human too. She looked at the faded sky from the window. She spread out her hand towards the sky, trying to reach for it. It was close but far away. Maybe just like the man who she thought would save her. Khudkushi (suicide). The word echoed against the big, bare walls of the brothel. Its weight settled on all women who lived inside. It grew heavier and heavier, thicker and thicker, folding them in, needling them all over. It hung in the air, sharp and poisonous. 'Khudkushi,' they murmured in small voices, afraid not to say it out too loud. They didn’t want anyone else to hear. A silence spread in the brothel, full of fear and anticipation. It was suddenly dark inside, and empty despite the people. Outside, the day shifted from morning to night. And the air smelled of earth and ash and rain. And faintly of death. Arsh took away her life. She cut her wrists and bled to death. For her, death wasn’t just an end—it held meaning. It meant freedom. It meant floating somewhere far, untethered. It meant relief from a corseted existence. Khudkushi became Arsh’s freedom. She finally fled from a life she did not want to live.

I was recently invited to a trip to Iran and Iraq by a group of close friends from Lahore, and as I had never been to these states before, I decided to take the opportunity to visit the shrines frequented mostly by Shia pilgrims. After all, how else was I going to be able to travel through war-torn Iraq (where the Islamic State has only recently been defeated) and gain access to the heavily sanctioned country of Iran? Mesopotamia – the cradle of civilisation and home to many Imams of the Islamic world – has been off-limits to most ordinary tourists since the days of Saddam Hussein. We took off from Lahore and a few hours later found ourselves landing in Baghdad, the famed city of The Arabian Nights. The airport was small and run-down, and we had to wait for at least two to three hours for our group visa to be cleared. We waited patiently and entered Baghdad at dusk; there were palm trees galore and the roads were smooth enough. Our excitement was mounting as we headed straight for the illuminating shrine of Ghous Pak (Sheikh Abdul Qadir Jilani). We paid our respects at the beautifully lit white shrine, ate the delicious langar (communal meal) of rice and chicken (provided by a Pakistani family from Faisalabad) and then headed to our hotel. We felt more than welcomed to a city founded on the west bank of the Tigris in 762AD by the Abbasid dynasty. [caption id="" align="alignnone" width="600"] The beautifully illuminated shrine of Ghous Pak[/caption] [caption id="" align="alignnone" width="450"] The door to his shrine[/caption] [caption id="" align="alignnone" width="419"] His final resting place[/caption] We stayed at Hotel Palestine, which is located near the ancient Tigris River, with a colourful history of its own; it was a favourite among foreign journalists during the Gulf wars and had been shelled! [caption id="" align="alignnone" width="600"] View of the Tigris River from Hotel Palestine[/caption] There are roadblocks all over Iraq and paramilitary forces with armoured vehicles can be seen on all major roundabouts. The receptionist at our hotel smiled and clapped joyfully when she discovered we were Pakistani and gave us comfortable rooms (our recent military standoff seems to have made them happy). Baghdad looks like it is stuck in an 80's time warp – the buildings all seem to be from that era. However, most of the debris from the bombed-out infrastructure has been removed. We found it to be a bustling city with crowded restaurants and bad traffic jams. We crossed the Tigris River many times, the last one being to visit the shrine of Persian mystic Mansur al Hallaj. He is known for his saying, “I am the Truth”, which many saw as a claim to divinity resulting in his execution, while others saw it as an instance of annihilation of the ego. [caption id="" align="alignnone" width="450"] The tomb of the Persian mystic[/caption] We also visited the burial place of Abu Hanifa, the founder of the Hanafi school of Sunni jurisprudence. However, the highlight of our Baghdad stay was the visit to the north of the city to Kazmain, where Imams Musa al Kazim (AS) and Muhammad al Jawad (AS), both direct descendants of the Prophet (PBUH), are buried. [caption id="" align="alignnone" width="600"] Outside the Ziyarat of the Kazmain Imams in Baghdad[/caption] This is a world famous shrine and one of the most important mosques in the Islamic world, with a huge gilded dome and four minarets rising above its courtyard, all covered with gold, Kufic inscriptions. There are canopied balconies, mirror mosaics, glazed tiles, and endless floors of marble. The final resting places of all the Imams buried in Iraq, we were to discover, were equally awe-inspiring. The shrine was very crowded during our visit and there was a long walk to it as it has been bombed in the past, which is why the nearby streets had been cordoned off. [caption id="" align="alignnone" width="600"] Armoured vehicles and soldiers guarding shrines are a common sight in Baghdad[/caption] The other highlight of our Baghdad visit was to the 2,000-year-old Persian monument Taq Kasra, or Arch of Ctesiphon, the world’s largest brick vault. Somehow it has survived all the recent wars and is truly a sight to see, given its immense scale and elegance. Taq Kasra is located near the shrine of Salman al Farsi (RA), a companion of the Prophet Muhammad (PBUH) and the first Persian to convert to Islam. [caption id="" align="alignnone" width="450"] Taq Kasra[/caption] On our last day in Baghdad, we headed to the ancient town of Samarra to visit the 10th and 11th Imams, Ali al Hadi (AS) and his son Hasan al Askari (AS). Both are buried in a heavily-guarded shrine, which has been bombed twice in recent years and had to be rebuilt. Adjacent to the mosque is another domed building built over the cistern where the 12th Imam, Muhammad al Mahdi (AS), disappeared; hence the title of the Mahdi, the Hidden Imam. [caption id="" align="alignnone" width="600"] The last place Imam Mahdi was seen[/caption] We were sorry to leave Baghdad – there was much to see and such little time – but we had to move on to Karbala, where rain greeted us. Powerful energy emanates from this city, the burial place of Imam Hussain (RA), the grandson of Prophet Muhammad (PBUH), near the place where he was martyred during the Battle of Karbala in 680AD. Within the shrine of Imam Hussain (RA), we found the mass grave of all 72 martyrs of Karbala who fought and died alongside him, despite the heavy odds they faced. We soon joined the thousands of people jostling to enter the Ziyarat. Opposite is the shrine of his brother, Hazrat Abbas (AS), who was also martyred during the Battle of Karbala by Yazid’s men while bringing some water from the Euphrates River for the Prophet’s (PBUH) family. There is a lovely walkway lined with palm trees between the two shrines, and we often went there to sit and pray as our hotel was nearby. [caption id="" align="alignnone" width="600"] Hazrat Abbas (AS) shrine glistening as the sun sets in Karbala with the walkway in front[/caption] Our next stop was Najaf, and luckily our hotel was located right next to my favourite Ziyarat: Imam Ali’s (RA) resplendent shrine. He is considered the father of Sufism, as almost all Sufi orders claim their descent from him. [caption id="" align="alignnone" width="450"] Imam Ali's (RA) shrine in Najaf[/caption] [caption id="" align="alignnone" width="450"] The entrance to the shrine[/caption] After visiting his peaceful shrine, we went to Kufa to see the great mosque, one of the oldest in the world, where Hazrat Ali (RA) was struck by a poisoned sword and passed away after two days. We visited his simple but elegant house next to the mosque (thankfully preserved by the Iraqi government) where his body was washed before being buried in secret. Imam Ali (RA) had earlier dug a well in his house and even today one can drink its healing waters. [caption id="" align="alignnone" width="600"] The Great Mosque of Kufa[/caption] [caption id="" align="alignnone" width="600"] The house in Kufa has been preserved by the Iraqi government[/caption] Our final stop was the city of Mashad in Iran, home of the eighth Imam, Hazrat Ali Reza (AS), whose shrine is really the heart of the city – all roads lead to his Ziyarat! We took a short flight from Najaf to Mashad, which is the second most populous city in Iran. Mashad means the place of martyrdom; Imam Reza (AS) was poisoned by Caliph al Ma’mun. A fact I learned during my journey is that none of the Imams lived to an old age – all were poisoned or assassinated. Imam Reza’s (AS) ornate shrine is enormous, with its many courtyards and mosques, and is considered the Vatican of Iran, run in an efficient and orderly manner. It is also gorgeous, with its Persian carpets and crystal chandeliers galore. We were lucky enough to eat from the shrine’s famous langar and enjoyed the Imam’s hospitality! [caption id="" align="alignnone" width="600"] The underground crypt where people can pray and meditate[/caption] Mashad is a clean, modern city, and feels like it could be anywhere in Europe, except all the women wear long black chadors. Before we knew it, our visit was over, and tired but rejuvenated we found ourselves on the plane back to Lahore. There were so many memories to treasure and so many adventures to retell. Iraq is slowly recovering from war and getting back on its feet, and I would recommend everyone to go visit this fascinating country alongside Iran, regardless of your religious beliefs. As we were told wherever we went, “Ziyarat qubool.” (May your pilgrimage be accepted) (All photos by author)

In the post-modern world, the topography of the city has undergone a drastic shift. Rapid urbanisation and growing job opportunities have resulted in many cities in the developing world being swamped by an increasing number of people coming in from the villages and suburbs. In order to accommodate this burgeoning populace, the intrinsic structure of the modern metropolis has had to evolve. Countries such as India and Pakistan have had to grapple with the dual ambitions of wanting to urbanise their cities while also wanting to hold onto their rich architectural heritage. The complex history of a multi-ethnic country such as Pakistan has been razed to the ground in order to erect soulless towers to replace the colonial monuments which have served as a reminder of our turbulent past. [caption id="attachment_81733" align="alignnone" width="600"] Heritage building encroached on by local traders at Jamia masjid road.[/caption] Rawalpindi is an example of a city wrestling with these two seemingly dichotomous aims. On the outskirts of the Rehmanabad Metro station lie some old houses with large verandas and an edifice which is almost reminiscent of the homes in Downtown Abbey. Erected in the early 1960’s, they adorned the city with their marvellous porticos and the locality came to be known as Satellite Town. During the time that Islamabad was being built as the nation’s new capital, Satellite Town functioned as a diplomatic enclave of sorts, with many embassies located there. The Victorian-style houses were thus built to accommodate foreign dignitaries residing in the city. [caption id="attachment_81748" align="alignnone" width="600"] A night view of Jamia Masjid Rawalpindi which was founded in 1905.[/caption] Over the years, however, as Islamabad became the diplomatic hub, Satellite Town found itself shrinking in importance, and the neighbourhood was consumed by a city which was expanding at an unprecedented rate. The old houses of the locality now stand like ghostly relics of the past. [caption id="attachment_81678" align="alignnone" width="452"] Chan bazaar, Rawalpindi.[/caption] [caption id="attachment_81734" align="alignnone" width="450"] A view of Raja Bazaar road.[/caption] In a house on Sadiqabad road lives an old engineer who has closed the gates of his house, along with his heart, to the outside world. The resident is Afzaal Ahmad, a man who comes from a distinguished family of army personnel. While looking at his old photographs, Ahmad recounts: “The Rawalpindi I was raised in was a marvel, an image straight from the British calendars. Smooth clean roads, small markets, coffee shops along with a nice book shop (London Books company), low traffic and an orderly crowd.” [caption id="attachment_81736" align="alignnone" width="600"] The main entrance of the Afzaal Ahmad's house.[/caption] [caption id="attachment_81737" align="alignnone" width="600"] Old magazine ads from the collection of Afzaal Ahmad.[/caption] [caption id="attachment_81745" align="alignnone" width="600"] Rawalpindi's Kashmir Road in the 1960's. From the records of Afzaal Ahmad.[/caption] The markets at the time were quite small and there was only one major road in Saddar at the time, Mall Road, which catered to everyone's needs. Ahmad recalls that the famous road had a hairdresser, a laundry shop and few clothing outlets as well. He adds: “I remember most of my classmates in Station school were British or Anglo-Indians. Anglo-Indians were considered to be the most educated after the British. I still remember this one Anglo-Indian traffic sergeant who used to roam around alone on Murree road. People were so afraid of his discipline that they wouldn’t cross the road until he had gone away.” [caption id="attachment_81738" align="alignnone" width="600"] Backyard of the house.[/caption] [caption id="attachment_81743" align="alignnone" width="600"] An old building occupied by partition migrants in Saddar.[/caption] For Ahmad’s generation, and the ones which followed, things took a downward turn after Zulfiqar Ali Bhutto came to power. Fearing the consequences of nationalisation and increasing religiosity, many foreigners fled the country. The Anglo-Indians too fell prey to this and many migrated to America and Australia. The resultant vacuum gave rise to a new emerging class of locals who had a different mentality. They were hungry to tear down the old to make way for the new. [caption id="attachment_81744" align="alignnone" width="338"] An old temple in miserable condition in Moti Bazaar.[/caption] [caption id="attachment_81749" align="alignnone" width="475"] A name plate outside a house in Dhakki mohallah, Angat Pura.[/caption] Rawalpindi as a city has always had a storied history. Punjab has been ruled by Graeco-Bactrian Kings and later by the Sakas, Iranian nomads, and in 1765 Sardar Gujjar Singh controlled the area which is now called Rawalpindi. The city remained under Sikh rule till 1849 when it was taken over by the British. Hence, this land has had many identities, and one can find linkages to an extraordinary past through the city’s buildings and districts. [caption id="attachment_81679" align="alignnone" width="600"] A view of Moti bazaar, Rawalpindi.[/caption] Despite the removal of the Sikh Raj, the Sikh community remained an integral part of the cultural fabric of Rawalpindi till 1947. Their remnants are still visible in Kartarpura, Angatpura, Arjun Nagar, Mukha Singh state, Old Banni and adjoining areas. The city was predominantly influenced by Rai Bahadur Sujan Singh whose haveli (house) still stands in the old Bhabra Bazaar. Rawalpindi at one point in time was a jewel, a unique blend of both old and new architecture. Over the years, people that have been allotted these vacant properties have damaged them due to sheer negligence, and today these buildings are but a shadowy reflection of their former glory. [caption id="attachment_81739" align="alignnone" width="600"] An old pre-partition haveli in Saidpuri gate trying to save its colors from the wrath of the modern age.[/caption] [caption id="attachment_81741" align="alignnone" width="600"] A colonial style balcony on College Road, where famous Indian actor Balraj Sahini grew up.[/caption] Rawalpindi today is a chaotic labyrinth. Building laws and municipal regulations are virtually non-existent. Politicians and profit-driven land owners have given local municipal authorities the approval to demolish heritage buildings and sites. Commercialisation has trumped heritage. Heretics have squashed history. Rawalpindi still has the potential to become the epicentre of regional heritage, but only if preservation work is begun immediately. Today, the view from the metro bus offers a gloomy look at a frenzied skyline onto a city which does not know what it wants to be because it has forgotten what it once was. (All photos by author)

It had been some time since I cried while reading a book. And A Place for Us changed that. Fatima Farheen Mirza’s dazzling debut novel tells the story of a South Asian Muslim family living in America. The family members find themselves torn between discovering their individual selves, while also grappling with their respective roles within the family. As a result of living in a deeply polarised American society, the characters in the novel are in a constant battle with themselves, their family and the world around them, each looking to find relevance, liberty and peace. Interestingly, one of the main talking points with regards to this book has been Sarah Jessica Parker's involvement in its publication. The Sexy and the City star chose Mirza’s novel as the first book to be published under the Parker imprint for Hogarth publications. A Place for Us begins at the wedding celebrations for the family’s eldest daughter, Hadia, in California. The occasion, however, is made all the more special due to the youngest child and only son, Amar, coming back home after having fled three years ago. The story thus revolves around the circumstances which led to Amar’s estrangement from the family and the narrative is interspersed with memories from the parents, Rafiq and Layla, and their children, Hadia, Huda and Amar. What I found particularly inventive about the narrative was how the story unfolds through the point of view of a host of different characters, with the same memory often being shown through different perspectives. We are thus able to see how the same moment impacted each member of the family in a wholly unique manner. Mirza beautifully brings to light the nature of familial love, which can be limitless and unwavering, but also envious and petty. The depiction often seems like that of a typical diaspora family, with parents trying desperately to instil both Muslim and South Asian values in their children and encouraging them to speak their native language at home. The author explores the subtle dynamics of the household, from the siblings safeguarding each other’s secrets, to the family following Islamic rituals and customs like fasting in the month of Ramazan and observing Muharram. But that’s just the feel-good part of the book. What is heart-wrenching, poignant, and particularly relevant for our part of the world is how Mirza explores the pressure parents tend to put on their children. South Asian parents often have their own expectations from their children, insisting that they must be obedient, unquestioning Muslims and top performing students who go on to become either doctors, engineers, lawyers or entrepreneurs. The novel attempts to illuminate how pitting children against one another, failing to acknowledge past mistakes and the inability to express love can tear a family apart. Hence, when Amar leaves, a part of Rafiq and Layla’s souls also leaves. But by then it’s too late to mend their broken ways. Perhaps the saddest thing in the world is to see your child leave you because of your own mistakes. Not feeling at home with your own family is a tragedy, one which Mirza renders beautifully on the page. And so, I cried when the family was torn apart because of secrets, betrayals, and the smallest of estrangements which could no longer be brushed under the carpet. The last section of the book, told from Rafiq’s perspective, is absolutely devastating. The feelings of an emotionally-reserved father, who falls prey to his own shortcomings, are expressed in a remarkably raw and affecting manner, which is quite an achievement for a debutant writer. Mirza has done a truly commendable job at penning down the story of a family over decades, and it is no surprise that her novel has received great critical acclaim. The recurrent themes of children trying to find their own identity and parents trying to protect and understand their children resonate at a deep level. After this stellar debut, one hopes that Mirza is able to pack the same amount of authenticity into her next novel, one which I am eagerly awaiting.

“My dear Marwan, I look at your profile, In the glow of this three-quarter moon, my boy, Your eyelashes like calligraphy, Closed in guileless sleep. I said to you, ‘Hold my hand. Nothing bad will happen’.” These are a few verses from the context of Sea Prayer, the fourth book by Khaled Hosseini. Hosseini is a well-known author of three books, including the international bestseller The Kite Runner, and is the Goodwill Ambassador to the Office of the United Nations High Commissioner for Refugees (UNHCR). Sea Prayer is a 40-page book, or rather, a free verse poem beautifully complemented by Dan Williams’ illustrations. It can best be described as a small prayer to the sea by a helpless father on a moonlit beach, who is going to cross the Mediterranean with his child as soon as dawn arises but in less than ideal circumstances. The story begins with the remembrance of the happy days spent by the father in Homs, Syria when the city was at peace, with its bustling and crowded lanes and streets. Of a time when the stirring of the olive trees and clanking of pots used to awaken him, and when this city of western Syria was not dismantled by bombs, starvation and death. The father wishes for his son to remember some of the more pleasant memories of Homs. The story has been inspired by the three-year-old Syrian boy Aylan Kurdi, whose body washed up by the sea on the shore of Mediterranean Sea in 2015 as he fled the Syrian War. While talking in an interview, Hosseini became teary-eyed even as he remembered seeing the photograph of Kurdi. “I was gutted,” he says. “I tried to imagine, as a father, what it must be like to see viral photographs of your deceased three-year-old lying face down on the sand at the water’s edge and being lifted into the arms of a stranger.” He also stated, “I hope that this book Sea Prayer is a small tribute not only to his (Kurdi’s) family, but also, on a broader level, I hope it highlights the unthinkable despair that thousands of other ordinary people face every day to abandon home and community and take a chance on this brutal and often lethal journey across the sea.” Hosseini thus pays tribute to Kurdi’s family through his Sea Prayer, while portraying the tragic and wretched condition of millions of refugees all over the world with help of Williams’ illustrations. The beautiful memories of Homs are like a dream now, not only for the son but also for the father. Protests followed by the atmosphere of fear and beleaguerment, the black skies showering bombs and bullets instead of rain, and the sight of living bodies buried under devastated buildings is all that remains in their memories of Homs. In Sea Prayer, Hosseini not only points out the way in which the war imposed by mighty powers upon Syria has destroyed the childhood of millions of innocent kids, but also highlights the emergency and the growing crisis of refugees being forced to leave their homes and approach smugglers in search of safe shelters which are in actuality not safe at all. A heartrending letter from a father to his son provokes in us the thought of the thousands of refugees who risk their lives on the threshold of death every year just in search of shelter, while many of them simply perish at sea without leaving anything behind. Every night they sleep among the remains of human flesh burnt by explosive bombs, with their own bodies stained by blood, dreaming of a better future – a hope for a safe shelter, a desire for a home. Carrying their misfortunes, they are longing for acceptance and searching for a place where they are welcomed. But no one cares. Not even the sea. The sea is deep. It is vast. A large swarm of unwelcomed and unasked bodies of flesh are waiting impatiently at the cold beach for the sun to rise. The father sees his son, his only precious cargo, and tries to console his sleeping being with his words, while praying that the sea knows his worth. It kills him every time he thinks of the depth and vastness of the sea and the helplessness of his own self. At this instant, the mother’s voice comes up: “Oh but if they saw, my darling. Even half of what you have. If they only saw. They would say kinder things, surely.” The book will make tears fall out of your eyes silently as the deep ocean engulfs the bodies of thousands of refugees fleeing war and persecution. Some pages are without any words, and here the illustrations speak more powerfully than words ever could. Quietly, they will make your heart wail in silence due to the barbarity of what we call human beings. Humans, the greatest creation ever to be created, that cannot even feel the pain of its fellow beings. Every word, every illustration in this book will leave a deep mark on your heart. The demonstration of the transformation of a peaceful, crowded and bustling Homs into the city of death; no one could have written this better than Hosseini. No words could carve out such an impression on a heart other than his own. This book deserved to be written purely, with a heart that could feel the pain and emotions of thousands of homeless Syrians, Afghans, Somalis and Iraqis. Then who would be better than Hosseini to write it? After all, no one could feel the pain of a refugee better than a refugee himself. As he stated, “If I was a father on a moonlit beach about to take one of these journeys, you can bet that I would... say one of these prayers too.” Sea Prayer is about questioning your own self: what would you have done if you had to abandon your home and cross a deep sea on a cold night? How would you have reacted if you had lost your loved ones in the same sea? Imagine them dead. Imagine their fates being ended as a feast for the sea. Imagine the struggle of their last breaths before they were taken forever. Imagine them being washed up by the sea at the shore itself. How would you have felt? Imagine how a father would have felt to see his three-year-old like this? Hosseini leaves the grave questions for the mighty powers of the world to ponder through his short work of fiction!

Pakistan’s unique geostrategic location at the crossroads of East, South, West, and Central Asia enables it to function as the “Zipper of Eurasia”, as I wrote over half a decade ago in September 2015 for the Russian Institute of Strategic Studies. I built upon this observation in March 2019 to declare that the creative leveraging of the unprecedented trans-regional connectivity potential offered by CPEC enables Pakistan to become the Global Pivot State. This ambitious vision is finally beginning to take shape after Prime Minister Imran Khan and the Uzbekistani Minister of Transport agreed to pursue a trans-Afghan railway line on Wednesday. I previously proposed such a corridor in my April 2019 debut analysis for CGTN about how “CPEC+ Is The Key To Achieving Regional Integration Goals”, which described the northern branch of CPEC through Afghanistan into Central Asia as N-CPEC+ (“N” referring to North). Eventually, this corridor could expand as far northwards as Russia to create a new North-South integration axis across Eurasia which aligns with President Putin’s vision for the Greater Eurasian Partnership (GEP) like I explained in an academic article that I co-authored over the summer that was republished by the prestigious Russian International Affairs Council (RIAC). As Pakistan begins to take on a more prominent role in trans-Eurasian integration processes, its strategic importance to both China and Russia will continue to rise. Both Great Powers have a shared interest in the South Asian state fulfilling its destiny to unite the supercontinent through CPEC+. It’s only through this connectivity paradigm that a true Convergence of Civilisations can occur, like I explained in an analysis for CGTN in May 2019. The outcome of Eurasia’s diverse civilisations cooperating on trade and other forms of integration could powerfully discredit Huntington’s infamous prediction about a coming “Clash of Civilisations”. Russian, Chinese, and Pakistani interests are all directly served through N-CPEC+. Moscow’s regional allies can become more internally stable as their economies grow upon securing access to the global markets that this corridor provides through the Indian Ocean, as could Russia’s resource-rich Siberian region. Beijing, meanwhile, will see its Pakistani-based CPEC investments put to use as a springboard for trans-continental integration processes and could also secure contracts to construct parts of its northern branch expansion as well. As for Islamabad, it would financially benefit by having its ports facilitate Central Asian trade with the wider world. N-CPEC+ is therefore more than just a connectivity corridor, it’s a grand strategic concept for the future of intra-Eurasian relations in the emerging Multipolar World Order. Russia, China, and Pakistan are coming closer together as each country realises that they need the others in order to fulfill their shared vision of stability in the supercontinent. In fact, continued movement in this direction might even lead to the creation of a new multipolar trilateral between them to replace the stalled one between Russia-India-China (RIC). The end result could be that a Golden Ring rises between them, Iran, Turkey, and Azerbaijan in the Heartland of Eurasia. To be clear, this won’t happen overnight, but the progress that was just made on agreeing to the Peshawar-Kabul-Mazar-e-Sharif trans-Afghan railway shows that the political will is certainly present to take this vision to its ultimate conclusion with time. Some formidable obstacles still remain, however, such as the unresolved conflict in Afghanistan and the efforts of external powers like India to sabotage this vision. There are also obvious questions of financing and other issues related to project implementation, as well as identifying which companies in the region and beyond are most eager to immediately tap into this project upon its completion. Nevertheless, there are plenty of reasons to remain optimistic, especially since it’s becoming undeniable that Russia and China both appreciate the strategic significance of Pakistan’s N-CPEC+ initiative to their GEP and Belt & Road Initiative (BRI) respectively. In fact, as GEP and BRI continue to synergise their connectivity capabilities, their patron states are realising that N-CPEC+ is indispensable to the success of their joint vision for the supercontinent. This understanding is accelerating trilateral integration between them and therefore leading to one of the most exciting geopolitical developments of the 21st century thus far.

Former actor Noor Bukhari recently took to Instagram where she praised her ex-husband Awn Chaudhry. Noor posted a photo of Chaudhry with a caption that read "My hero". https://www.instagram.com/p/B7qDZUkFmzK/ Reports of the two tying the knot for a second time surfaced subsequently. Politician and Tv personality Aamir Liaquat in a tweet which he has since deleted alluded to a marriage between the two. Liaquat lauded Noor's decision to remarry her ex-husband for the sake of the daughter the two shared. Additionally her sister, Fariah Bukhari also commented on the post where she praised Chaudhry. "Aww, Mashallah, may Allah protect from evil eye," she said. Sources close the couple have confirmed that the two have been married for almost a year now. There are also reports that Noor and Chaudhry became parents for a second time over two months ago to a baby girl. Rumors of Noor's fifth marriage have been circulating for a while now. Earlier on, reports of Noor opting to marry Khawar Maneka, the ex-husband of Bushra Maneka had surfaced. The 38-year-old actor had subsequently rubbished all news relating to it. "I am surprised by the interest that everyone is showing in my marriage – that too with a man who is my father’s age. How can I marry a man that is old enough to be my father?” she told the Express Tribune. Noor was previously married Wali Hamid Ali Khan, son of the famous classical singer Ustad Hamid Ali Khan. The marriage was reportedly troubled with domestic issues. After two years, Noor had decided to take Khula through court. Following that the actor had decided to leave the showbiz industry altogether. Have something to add to the story? Share in the comments below.

The Pakistan International Screen Awards (PISA) 2020, which were set to take place on Friday have received severe criticism for mismanagement. Bulbulay star Nabeel Zafar took to social media to lash out at PISA for using his name for promotion and then failing to make travel arrangements. The actor also shared a picture of the invite which showed that he was nominated in the category for Best Actor in a comic role for his performance in Bulbulay. "In my 30-year career, I have rarely been seen on award shows because I don't feel any of them are credible. I decided to give PISA a chance considering that it was being touted as the first-ever international award showcase and I thought they would hold more credibility than others," Nabeel told The Express Tribune. He went on to add that the whole ordeal came off as an insult to him. "This is utterly disrespectful. On one hand, they are using my name to promote the event and on the other, they are not making timely arrangements for a ticket. While all this is happening they flew certain female celebrities on private jets, most of whom are hardly known. This didn’t just happen with me. It happened with several other actors, some of whom are veterans in the industry," he added. Nadia Afgan who is nominated for Outstanding work as an actress in a comedy role, for her performance in Suno Chanda faced a similar issue. "I feel like if you’re not an Insta star you’re not an Insta star. Aap jitni bhi mehnat karley aap jitney bhi achay actor hoon (No matter how hard you work , how good of an actor you are) its no use if you’re treated like this," Afgan told The Express Tribune. According to Afghan, she was first notified of the nomination by Body Beat PR while shooting for a TV serial in Bahawalpur. "I had to shift my shooting dates when I was told that I would be flying on 6th February. My husband even booked a ticket for himself to accompany me for the award show", she exclaimed. Afgan was initially given assurances by the PR company but the organisers ghosted her at the eleventh hour. "We had to go in the night around 2:30 AM to cancel my husband's ticket. I was so upset and felt so insulted. How can you people do this? First, you nominate me, ask for my documents then keep me hanging on. I even had a dress made by Yosuf Bashir Qureshi. It was such a waste of my time. I feel so angry with these people. I am disgusted by their behaviour. I didn't ask them to nominate me. I didn't ask them to invite me to Dubai." she said. Adnan Shah Tipu who was also nominated for his performance in Suno Chanda noted that around 40 people including himself faced the same issue. "Nabeel , Rehan and Hina Dilpazeer. The same happened with all of them. They were all nominated but didn't receive the tickets yet their name was used in promotion," Tipu said. "As far as I remember, I have never faced such an issue before. You can call whomever you want that's up to you. Jo log nominees hein unko aap tickets nahi bhej rahay aur jinka iss kaam sey lena dena nahi hai unko aap bula rahay hein (All those that are nominated, you aren't sending them a ticket and those that have nothing to do with it, you are accommodating them)" he said. Actor Osman Khalid Butt in a twitter post revealed that he along with Ahmed Ali Akber and Saqib Malik were also snubbed for the PISA's at the last minute. https://twitter.com/aClockworkObi/status/1225704275759771648 In response to the outrage, Body Beat PR (BBPR) CEO Hasan Rizvi apologised for the whole ordeal certain nominees had to face. "There was a complete miscommitment on tickets to our respected guests and celebrities. We did not receive the tickets from the management for multiple reasons, including flights being completely full. However, as BBPR was responsible for contacting the guests please treat this as formal apology for the mismanagement of this. Our intention was never to disrespect any of our guests. We hold each and every one of our guests with the highest regard" Rizvi told The Express Tribune. He went on to add that PISA was a new platform with teething issues."We hope with time PISA will get bigger and bigger only to shine our country’s name," concluded Rizvi. Have something to add to the story? Share in the comments below.

Khalilur Rehman Qamar has always been in the limelight for one reason or another. While the famous writer has been criticised for his stance on topics such as feminism, Qamar is now working on a script similar to the popular Turkish period drama, Dirilis: Ertugrul. https://www.instagram.com/p/CABu9Q9hJpy/?utm_source=ig_embed&utm_campaign=embed_video_watch_again In an interview with a local TV channel, the Meray Paas Tum Ho writer shared that he had already spoken to Humayun Saeed and the duo will be working on a show similar to the famous Turkish drama. Responding to the host's query about working on something like Dirilis: Ertugrul, Qamar asserted, "Of course, we are definitely thinking to make something like this. Three days ago, I have spoken to Humayun Saeed about this and we have decided to make something." The Kaaf Kangana director went on to add, "I have been asking him to work on something like this for the last twelve years but the problem is we have limitations. We do not have enough facilities, otherwise, we have brilliant actors." When the host congratulated Qamar on even thinking about working on a script as grand as the Turkish epic, the writer quickly interrupted and said, "I am not just thinking about it, I am going to start penning the script from tomorrow." Have something to add to the story? Share it in the comments below.

The Turkish television series Dirilis (Resurrection) Ertugrul, based on the life and times of the 13th-century Muslim Oghuz Turk leader, Ertugrul, has taken Pakistan by storm. According to the state-run Pakistan Television (PTV), 133.38 million people have so far watched the drama series from April 25- May 14. Also, its episodes are trending on YouTube in Pakistan every day. In just 20 days, since the series with Urdu dubbing started riding on the airwaves, PTV’s YouTube channel has registered exponential rise its viewership with 2.1 million subscribers, shattering all previous records. With growing popularity, these numbers are expected to climb up further in the coming days. The state-run TV, which started airing the show under an arrangement with Turkish Radio and Television (TRT), is making it accessible to a far greater audience and igniting public interest. PTV launched the first episode on April 25, the first day of the holy month of Ramadan. The series was dubbed in the Urdu language at the instructions of Prime Minister Imran Khan, who had expressed interest in the series last year during his tour to Turkey. 'Diriliş: Ertuğrul's Esra Bilgic excited to meet Pakistani fans “During the lockdown, I am watching the seasons regularly. The faithful and fearless figures of Ibn Arabi from Andalusia and the Knight Claudius who later embraced Islam and became Umar are my favorites,” said Mohammad Ibrahim Qazi, grandson of the late Qazi Hussain Ahmad, the leader of the Jamaat-e-Islami party. Like many other countries, Pakistan had enforced a countrywide lockdown in March, to stem the spread of Covid-19 pandemic. The series come handy to keep people indoors. Millions of Pakistanis jumped to social media and warmly welcomed Ertugrul. The viewers continuously comment and share scenes of the series on Twitter. “First I heard from Prime Minister Khan suggesting people to watch the series. Then I decided to see the drama and since then I have not missed any of its episodes,” Shaista Khan, a school teacher from Dir, a district of northwestern Khyber Pakhtunkhwa province told Anadolu Agency. Positive development for cultural enrichment She said the Ertugrul was perhaps the first series after a long time that can be watched with the whole family sitting together. It also imparts historical knowledge to kids, she said. Often described as the Turkish Game of Thrones, the series depicts the 13th century Anatolia and tells the story before the establishment of the Ottoman Empire. It illustrates the struggle of Ertugrul Gazi, father of the empire's first leader. “I take it as a positive development for our cultural and literary enrichment. Today, when we say globalization in terms of people to people contact Ertugrul, is one such move to bring people of Pakistan and Turkey much closer,” said Syed Fakhar Kakakhel, Islamabad based journalist who writes on art and culture. The series that has attracted millions of viewers in a short period, has also opened new avenues for the entertainment industry in the country. “Pakistanis will have a change of heart after reconnecting with the glorious past in medieval age. There is a natural tendency to get away from Bollywood. Turkish multimedia industry is replacing the craze for Bollywood and is successfully carving a niche in Pakistan,” said Qazi. He said the popularity of Turkish serials in Pakistan is an ideal case for both countries to join hands in the multimedia sector to combat rising instances of Islamophobia across the world. “In our neighborhood in India, such historical movies have collected lots of revenue. Pakistan and Turkey can have a joint venture to produce contents based on history,” said Kakakhel Ertugrul series is based on glorious times of Muslims which is our shared culture. That is why it has attracted such a large viewership in Pakistan,” he added. Last month, before the PTV started broadcasting the historical series, Prime Minister Khan asked viewers to watch it as it showcases the values and history of Islamic culture. Turkey to open doors to Pakistan for health tourism “A third-rate culture was being promoted in Pakistan through Hollywood and Bollywood. I want our children and youth to learn the difference and to show that we also have our own culture,” he said, while referring to the Ertugrul series. “We have a culture with romance and history as well, however, it is also filled with Islamic values. Sadly, the content from Bollywood is full of vulgarity, which was not the case three or four decades ago,” he added. The series is particularly making waves among young Pakistanis. "Thanks to PM @ImranKhanPTI for arranging this #ErtugrulUrduPTV #Ertugral gives a source of Motivation & Inspiration to learn & Implement the core Islamic values, it boosts the moral that we can overcome any challenges by our strong will, faith & with help of Allah,” wrote a Twitter user engineer Salman Ahmad Khan. Last September, Turkey, Pakistan, and Malaysia had agreed to combat the rising global trend of Islamophobia, mainly in the West. They had decided to launch a television channel dedicated to confronting challenges posed by Islamophobia and to produce films on Muslim

Catering to a strong consumer demand, Indian streaming platform Zee5 is adding and subtracting shows from its roster of offerings. These include some content from Pakistan as well. It is all set to revive its Zindagi brand, which will be the new home for a large number of Pakistani shows including Bin Roye, Diyar-E-Dil, Tum Kon Piya, Sheher-E-Zaat, Baaghi and many others, stated a press release. Moreover, the platform will also launch five new original series. Zee5 is returning with the promise of not only rich original content but also fresh new shows that are thought-provoking, with a bold multi-cultural narrative. As a global content brand, Zindagi has always narrated handpicked, real stories that are differentiated, yet universal, in their storytelling and appeal, resonating strongly globally. The originals set to be produced by the streaming platform star popular actors such as Saba Qamar, Naumaan Ijaz, Ahad Raza Mir, Sajal Aly and many others. The first show to be making waves is Mann Jogi, starring Qamar, Ijaz, Agha Mustafa Hassan, Uzma Hassan and Gul-e-Rana. It is written by Saji Gul and directed by Kashif Nisar. Dhoop Ki Deewar is another original, produced by ZEE5, with Aly, Mir, Manzar Sehbai, Samiya Mumtaz, Alyy Khan, Adnan Jaffer, Samina Ahmed and Zeb Rehman in the lead. It is written by Umera Ahmed and directed by Haseeb Hassan. Abdullahpur Ka Devdas will see Bilal Abbas Khan, Sarah Khan, Ijaz and Savera Nadeem in pivotal roles. Other actors in the show are Anoushay Abbasi, Raza Talish, Ali Ansari, Shahzad Nawaz and others. It has been penned by Shahid Dogar and directed by Anjum Shahzad. Helmed by popular director Mehreen Jabbar, Aik Jhooti Love Story stars Khan, Madiha Imam, Kinza Razzak, Furqan Qureshi, Kiran Haq, Beo Zafar and Mohammad Ahmad, with a script by Ahmed again. Churails, starring Yasra Rizvi, Sarwat Gilani, Nimra Bucha, Mehar Bano, and others, has written and directed by the Cake famed film-maker Asim Abbasi. Amit Goenka, CEO of ZEE5 stated, "Zindagi’s universal content has a very strong appeal and we are excited to offer this rich and engaging library to the users of ZEE5, in India and across the world. We also understand that the viewers’ needs are diverse and therefore, have a compelling content catalogue from Zindagi, which encapsulates a universality of emotions.” He added, “We stay committed to offering an extraordinary entertainment experience to our consumers across multiple touchpoints, and we are sure that our viewers will once again embrace this widely acclaimed brand on our platform.”

In conversation with Faysal Manzoor Khan, the man behind Pakistan’s dramas and its culture

Dear PEMRA, it is our society that is ‘indecent’; our dramas are merely a portrayal of it

Haiwan: When will our dramas stop misrepresenting rape and child abuse?

5 reasons why Cheekh is unlike any Pakistani drama so far

Khudparast: An apt depiction of all that is wrong within our society

With Zidane back on the sidelines, will Real Madrid make the most of the summer transfer window?

Why is the US making a mountain out of the Masood Azhar molehill?

Knock knock! Annabelle is coming home and things are about to get real scary

India’s ‘Operation Isolation’ and the soft power of sports

When khudkushi became her only freedom

Iran and Iraq may not be tourist hot spots, but they offer a spiritual journey like no place else

Rawalpindi: A chaotic labyrinth, caught between heritage and heresy

Raw and poignant, A Place for Us beautifully sheds light on familial love

Sea Prayer by Khaled Hosseini: A father’s lament of the barbarity we call human beings

Is Pakistan’s N-CPEC+ vision finally beginning to take shape?

Noor Bukhari reportedly marries ex-husband

Celebrities, nominees slam PISA 2020 for mismanagement

Khalil ur Rehman Qamar is working on a script similar to 'Diriliş: Ertuğrul'

Turkish TV series Ertuğrul takes Pakistan by storm

Indian streaming platform to produce five Pakistani originals