The TV host shared a video on Tuesday afternoon of piles of trash she came across on a trail in the hill station.

“We travel to beautiful places to escape the mess. Let’s not leave our mess behind for someone else to clean up. Take your memories. Take your photographs. Take your garbage too,” she wrote in the caption for the video.

“What is this nonsense? Wherever I go here [Nathia Gali], this is the state,” she said, pointing to  wrappers, styrofoam cups and plastic bags strewn across the ground on the trail.  

“If you had plastic bags, why not put the trash in that and put carry it till you found a trash can?” she wondered.  

“The point is, we always complain about the state of our country, what will become of it, how will the situation become better but we can’t even manage to keep it clean,” she lamented, apologising for her aggression but labelling the situation ridiculous.

Kazim said we talk about climate change and the state of the environment, with hail in the rainy season and hot weather in the winter, but it’s all happening because of our propensity to litter and not take care of our surroundings.

“So, if things are bad, it’s our own fault,” she said.

Kazim’s not wrong — Pakistanis aren’t in the habit of picking up their own trash, even in the most scenic of locations. Residents of the country’s mountainous regions have long complained of tourists who leave a trail of garbage in their wake.

Dr Furqaan Ahmed has been a committed art collector for about two decades now. But for the practising doctor of medicine, it has not been about stocking his warehouse with canvases and installations. His interest has been immersive — visiting biennales around the world, holding conversations with globally renowned artists, participating in discourse with other artists — all the while learning, reading and researching.

The doctor has published three well-investigated books on different aspects of his collections. No other collector has gone this far in the service of art in Pakistan, as many are wary of the rap of the taxman. Taimur Hassan is the only other art collector in Pakistan who has contributed substantially to the art scene, exhibiting groundbreaking exhibitions at his celebrated Como Gallery in Lahore.

But while the exhibition ‘Karachi Cartographies — Seeing the City Through Art and Archives’ at Canvas Gallery and Koel Gallery in Karachi explicates a remarkable concept of visually illustrating the evolving lay of the land and its environs, it brings to the front some questions about empirical data versus aesthetic intervention. The structural vulnerability of ‘Karachi Cartographies’ lay in its inability to translate raw archival material into a cohesive visual vocabulary.

Archive as nostalgia?

The inclusion of large, innumerable city maps and architectural blueprints functioned more as a scientific index than a phenomenological exploration of space. Rather than treating these maps as static, objective data, the curatorial framework required a strategy that would have transformed them into lived sites — liminal spaces where audiences could negotiate a relational, temporal and individualised sense of place.

An exhibition that explored the city of Karachi through archival maps, documents and exceptional contemporary artworks shone brightest when the participating artists viewed the city through their own distinctive lenses

In the mind of the artist, maps become expressions of transient and fleeting geographies that are layered, complex and contingent. Artists such as Roohi Ahmed, who stitches maps with needle and thread on to fabric, acknowledge and employ the modules of creation by which art-cantered practices situate personal manifestations of place and layout, and make it personal. The map becomes home, neighbourhood, places of security or danger or boundaries crossed and kept. It is then that geography has meaning.

A map becomes a means of storytelling, like Naveed Siddiqui tells us in his assemblage of corrugated cardboard, and a presentation of data evolves into a compelling narrative. In the hands of the cartographer, the map is a scientific production, a tool for geographers and topographers and pilots and weather forecasters. The non-curator wants us to see these maps as historians. In the realm of artistic output, the possibilities are infinite.

Archival documentation of past events and experiences offers absorbing insights and perceptions into an unimaginable era. It is storytelling in black and white; validations of a dreamscape in sepia. While these historic fragments possess an inherent bricolage charm, they lack the artistic mediation required to address the power-laden relationships between past and present. They remain structural anomalies that belong more properly within the domain of institutional critique or an ethnographic museum, rather than a contemporary art space.

It is true that archival material plays a vital role in the development of art in artists’ narratives of memory, loss, reminiscence, belonging and displacement — some of the most common thematic inferences used today by artists globally, especially by artists in flux. But the curator/collector endeavours to show us the aura of the city through the eyes of his own family’s memorabilia as standalone nostalgia of times past with no analogous artistic intervention.

The part of the exhibition that consists of artists’ work is in itself quite spectacular and would have held the show without the excessive display of maps and archives. In themselves, they collectively speak of the complexities of a city, past and present, while stretching epistemological boundaries — everything required of a great show encompassing the changing face of an old city.

The curator/collector may have been cognisant of the fact that these works have been in the public eye before and an effort at curatorial novelty had to be exerted.

Through the artist’s lens

The opus-looking book sold at the event is only an accompanying catalogue documenting the show. But the real showstopper of the exhibition is the activity book created by the artist Sophia Balagamwala that serves as a vital piece of institutional pedagogy.

Balagamwala bypasses ponderous, postmodern critical theory in favour of an accessible, universal visual language. By effortlessly translating complex avant-garde concepts into an interactive format, she invites a democratic engagement with art. The booklet allows children to introduce their own gestural mark-making directly on to the page, subverting the traditional, passive viewership of the white-cube gallery setting.

Some of the most cerebral works on display are by Seema Nusrat, who injects found objects and fabrics with perceptively disassociated ideas and startles us out of our composure of everyday seeing. The common jute bag of rice morphs into a gunny bag for transporting a corpse, suggestive of the political violence that had clamped the city of Karachi in its grip over several decades. On it she transposes a beautiful vintage found tapestry, but the sack hangs ominously, as if tied hurriedly to conceal an object of conflict. Menacing road signs are treated ceremoniously to look like house facades.

Fazal Rizvi employs a minimalist formalism, utilising coded, rhythmic lines akin to musical notations to chart the temporal ebb and flow of the ocean. His long horizontal pieces, stripped of distracting visual expression, are remarkable representational paradoxes of angst and relief.

Jovita Alvares and Veera Rustomjee are both young, superlative artists who have recorded their minority family heritage as part of the larger community evolution of Karachi. Alvares uses old vernacular photography to map the physical and emotional geometry of migration from Goa to Karachi, transforming personal history into a broader narrative of cultural integration.

Rustomjee’s snippets of memory are Kafkaesque in their recollective value — wry and sardonic. They speak of the complex relationship between her Persian heritage and the myriad family tradition and influences.

Together, these two artists tell us more about the longstanding tradition of Karachi being the city that happily embraced diversity and built its complexity with gusto rather than ire. They talk of racial integration and the ensuing intangible losses suffered over the years more deeply than two dozen manuscripts and correspondences with governmental municipalities that we see spread across the exhibition, which are fascinating in themselves but belong in an archival museum.

Ways of seeing

We can recall Zarmeene Shah’s exhibition of Indus Valley School of Art and Architecture (IVS) graduate students in 2025, who delved into their eclectic histories to define critical engagement with the community and the abundance of archival material it brought to the fore within their visual dissertations.

The way in which the artist Naiza Khan has seen, recorded and documented the evolution of the island of Manora could have been the definitive conceptual blueprint for this exhibition. She uses maps and archives for the purpose of mark-making. Through her artistic output, Khan shows us the traumatic transitions that have taken place in Manora, the island that acts as a reflective microcosm of the country. Khan documented through her works the state’s failed promises of modernisation and progress, and the literal whitewashing of the local people’s social and cultural traditions.

Here, Khan takes a page from an almanac picturing the lens of a telescope and makes it the foundational source of a series of artworks, wherein the lens became the eyes and the visual descriptor. In that simple but complex linkage is a densely packed curatorial lesson.

‘Karachi Cartographies — Seeing the City Through Art and Archives’ was on display at Canvas Gallery and Koel Gallery from June 2-20, 2026

Originally published in Dawn, EOS, June 28th, 2026

The One Battle After Another actor ​took home four awards, including the special, noncompetitive honor of Icon of the Year, ‌presented by singer Janet Jackson. She also won the Fashion Vanguard Award, Best Actress, and Video Director of the Year for the short film Escape Room.

“There would be no me without you,” Taylor said to Jackson during a ​tearful acceptance speech for the Icon of the Year award, which BET describes as ​honouring those who have paid homage to music, entertainment, advocacy, and community impact.

“I ⁠worked my a** off 20 years for this. So, I’m not accepting what I’ve earned with ​arrogance; I’m accepting what I’ve earned with gratitude,” she said.

The BET Awards were held at the ​Peacock Theatre in Los Angeles and broadcast live on BET, as well as multiple Paramount-owned channels.

Comedian Druski, the youngest person ever to host the ceremony, opened with his comedic pastor persona, leading the audience in a humorous group ​prayer that blended jokes with tributes to spirituality.

The ceremony featured performances from Cardi B, Raye, T.I., ​Kehlani, Doechii, and Don Toliver.

Boundary-breaking music industry executive Sylvia Rhone was also honoured with the BET Ultimate Icon ‌Award, which ⁠recognises individuals who have made a lasting impact throughout their careers in the entertainment industry and the Black community.

“Tonight’s honour bears my name but really belongs to all of us who create culture. I’ve been fortunate to spend my life around extraordinary artists,” Rhone, 74, said as she accepted ​the award onstage.

“Black creativity ​is one of the ⁠most powerful forces in the world. It has shaped culture,” she said.

She emphasised that while technology is valuable, it is essential for Black creatives ​to preserve the soul and artistry of music for the next generation.

The ​50-year veteran ⁠of the music industry is the first Black woman to have held various top level positions at a number of well-known record labels.

She has held executive roles at Epic Records, Universal Motown, Elektra, Atlantic, and ⁠East ​West, and is known for her mentorship, including her work ​with Missy Elliott, Brandy, and Busta Rhymes.

Other honours of the night included Cardi B winning Best Female Hip-Hop Artist and ​Lauryn Hill taking home the inaugural Living Legend Icon Award.

“I’ve been thinking a lot about the lives we lead, the yellow brick roads we build for ourselves, and the detours life asks us to take,” she wrote in an Instagram post on Sunday. “Some are expected. Others arrive completely out of the blue. But each one has a way of shaping us and leading us exactly where we’re meant to be.”

Commenting on the photograph she shared with the post, she said it was taken after she had just stepped off the stage at Brilliant Minds after doing something she hadn’t done in a long time: interviewing someone. “It felt like returning to my roots, to the place where my journey as a storyteller first began,” she said.

“This year, every project I’ve begun has brought me back to why I became a storyteller in the first place,” Chinoy said.

“There’s so much I’m excited to share. A film fund that will champion new voices. A residency built around ideas and creative exchange. And new characters I’m nurturing, who will soon find their way into the world,” she said.

Her Neela Asmaan project is currently calling for applicants for its new climate futures residency. Patakha Pictures, a part of Chinoy’s SOC Films, provides grants for young filmmakers to work in Pakistan.

“Sometimes, the path forward isn’t about discovering something new. It’s about finding your way back to yourself. What’s coming next feels a lot like that,” she wrote, ending on a hopeful note.

A newly released trailer for the show made the announcement on Sunday. The show will air every Saturday and Sunday on Geo Entertainment.

The judges for the show are actor Mehwish Hayat, comedian Tabish Hashmi, singer Ali Zafar and Usman Bashir of Shark Tank Pakistan.

Pixel Entertainment announced that it had signed a deal with global entertainment giant Fremantle to bring the world’s most successful reality show format, Got Talent, to the country for the very first time back in August.

The franchise, originally created by Simon Cowell and owned by Fremantle, has aired in more than 70 countries and even holds the Guinness World Record for the most successful reality TV format in history.

The show promises to be a wide-open platform, welcoming singers, dancers, magicians, comedians, acrobats, beatboxers and just about anyone who thinks they’ve got what it takes to wow an audience. Nationwide open auditions are set to kick off soon, giving performers from every corner of the country a shot at recognition. In February, a call was made for auditions for the show.

Pakistan’s Got Talent joins Rap Icon Pakistan, Masterchef Pakistan, Shark Tank Pakistan and Pakistan Idol as part of Pakistani entertainment’s push towards reality competition shows.

After the team’s last match, photos of Iran’s Ramin Rezaeian looking devastated while holding the Superior Player of the Match trophy began to trend online, haunting fans, as did a video of him speaking to the media after.

Heartbreak was the dominant emotion online and who can blame them?

Many decried serious issues like lack of accessibility for teams, referees and fans, calling this the most racist World Cup ever.

There was a lot of talk about the problems Iran faced, like not being allowed to stay overnight in the US and having to travel to and from Mexico for games.

Others took issue with Iranian players being asked about things not related to football at all and wondered why the press wasn’t asking players accused of rape of their thoughts on that.

But despite it all, the Iranian team won hearts and people’s respect

Amidst all the heartbreak, there was some humour though. It is X after all.

What are your thoughts on Iran’s elimination from the tournament? Let us know in the comments.

Pepperoni Pizza Ingredients

-K&N’s Pepperoni Slices - 30-35 slices

-Pizza crust (1)

-Pizza sauce (½ cup)

-Cheddar cheese (1 cup)

-Onion (¼ cup; diced)

-Mozzarella cheese as required

-Black olives (¼ cup; sliced)

-Oregano (¼ tsp)

-Crushed red chilli as required

Method

1. Thaw K&N’s Pepperoni Slices as per instructions on pack and set aside.

2. Place pizza crust in baking pan and spread pizza sauce. Add cheddar cheese, Pepperoni Slices, onion, more cheddar cheese, mozzarella cheese, black olives, oregano and crushed red chilli.

3. Bake at 180°C for 15 minutes.

4. Dish out and serve warm.

This content is produced in paid partnership with K&N’s.

From June 25 to 28, ​Rome hosted “Vespa Roma 2026 – 80 Years ​of an Icon”, a four-day gathering centred on ⁠the city’s Foro Italico and the Stadio dei ​Marmi, which has been turned into a Vespa Village ​of exhibitions, races, parades and club events.

Launched in 1946 by Piaggio, the Vespa became a symbol of Italy’s rebirth after ​World War II: cheap enough for a battered ​country, stylish enough to seduce the world, and practical enough to ‌weave ⁠through the alleys of Naples, Milan and Rome.

It has since become one of Italy’s most recognisable design exports, appearing in films such as Roman Holiday with Peck ​and Hepburn, ​advertisements and ⁠holiday brochures.

Vespa has been in continuous production for 80 years, undergoing around 160 ​restyling updates and selling nearly 20 million ​units ⁠worldwide, including just over two million in the past decade.

Today, the scooter is sold in approximately 100 countries, ⁠mainly ​across Europe and Southeast Asia, and ​is manufactured in three production plants in Italy, Vietnam, and India.

What do actors do? Well, professionally speaking, they act. They bring stories to life by pretending to be someone they aren’t and sufficiently good ones can make you temporarily believe it’s all real.

Some people apparently din’t get the memo that this was temporary, because actor Anayah Shahid called out people watching her latest drama Zanjeerain for sending her hate over her role in the show.

In the show, her character Shirin is the head of the household staff of Sar Buland Khan (Danyal Zafar), a tribal chieftain. Over the last few episodes, it was revealed that she had tried to poison Sar Buland’s older brother Sherdil Khan (Ahsan Khan).

She does this at the behest of Sohrab (Reza Ali), Sar Buland’s cousin and right hand man who wants to usurp power by finishing off Sar Buland’s branch of the family.

In the last episode, Sohrab’s sister Bano discovers the plot, threatens to expose it and gets shot in the ensuing tussle with Sohrab. Shirin helps him cover his tracks.

Now while that’s the kind of twist that would make fans emotional — something Zanjeerain has made a name for (RIP Mudassir) — it surely has nothing to do with Shahid, who had to post a story explaining how acting works.

She addressed her message to “all the people cursing me, dragging me and writing passionate essays on my morals based on a fictional character’s decision” and ‘thanked’ them for their concern.

The actor said that if her acting ruined someone’s day or raised their blood pressure a bit, then the performance clearly worked “a little too well”.

She signed the message off as “the employee of the script,” which she is since the decisions she’s talking about aren’t actually hers.

What we can’t figure out is who is watching dramas and movies and thinking the characters are anywhere close to representative of the actors playing them.

How would that even work if someone plays different characters in different projects, which one is supposed to be them being themselves?

We can’t believe we have to say this, but don’t believe everything you see on TV and please understand that actors are just acting — it’s literally in the name.

Born just before the tournament, Messi the goat has been dressed in an Argentina jersey as his namesake racked up five goals in two matches — a hat-trick in a 3-0 win ​over Algeria in Kansas City and a double in the 2-0 victory over Austria.

Those ​performances reignited a familiar debate over who is the greatest player of ⁠all time — GOAT, in sports shorthand — with Messi often listed among the likes of Pele and ​Diego Maradona.

Argentina have made Kansas City their base, staying near the Berkley Riverfront, where the younger, ​horned Messi is part of a herd clearing invasive vegetation in a 55-acre industrial area slated for a billion-dollar redevelopment.

The project led by Port KC blends public cleanup funds with private development and is anchored ​by CPKC Stadium, home to the National Women’s Soccer League’s Kansas City Current.

“Baby Messi came ​about when we showed up with the goats up here,” said Kyle Alvis, owner of Goats Gone Green, ‌which ⁠has around 40 goats on site. “With the World Cup coming in, they all felt we needed to have a Messi floating around in town.”

Along the riverfront trail, joggers slow to snap photos as the herd grazes. Alvis said this is the second year of his partnership with ​Port KC.

“They don’t want ​to spray any herbicides. ⁠With the Missouri River next door, we don’t want the run-off. And the people that walk up and down the Berkley Riverfront walk ​get to enjoy a little bit of something besides just concrete ​and buildings,” ⁠he noted.

Alvis, who conceded he knew little about soccer before the World Cup, said the sport is bringing people together in Kansas City, the smallest U.S. city hosting the tournament.

As for a meeting ⁠between ​the two Messis, the invitation stands.

“As far as I know, ​he hasn’t,” Alvis said of whether the Argentine talisman has visited. “If he wants to come down and meet the ​little Messi, we’d be more than glad to have him.”

Quoting comments from a post announcing the score for one of the top 20 finalists, Riaz shared an open letter to her Instagram account, saying no crown “is worth hatred”.

“Over the past few days, I have been the target of a paid and orchestrated campaign of online harassment. Male supporters of a Miss Universe Pakistan finalist have publicly questioned my ability as a judge, sent hate, and even posted threats promising to ‘make my life miserable’,” said the former Miss Universe Pakistan — who is one of the judges for the competition this year.

“A real queen,” she said, “does not encourage harassment, intimidation, or hate to advance her own ambitions”. She said real leadership was measured by how we treat others and this behaviour was contrary to the spirit of healthy competition.

Riaz said these threats were not acceptable and will be met with legal action if they continue. “Online abuse is not beyond accountability,” she said, tagging the Punjab Police and Chief Minister Maryam Nawaz.

“I chose to represent Pakistan with dignity, respect and unity. I will continue to do so,” Riaz said, adding that she would not let online pressure replace merit and that all judging was done “based solely on the official Miss Universe criteria”.

“To every young girl watching: never let someone convince you that bullying is the price of ambition. Pakistan deserves women who lift each other up not tear each other down,” she said, ending her message.

The comments Riaz quoted were from a post from the official Miss Universe Pakistan account announcing the judges scores for contestant Aneesa Sheikh. The contestant is appearing for selection again after failing to progress past the Top 20 stage last year.

Riaz wasn’t the only person targeted either, Miss Universe Egypt Deputy Director Kosh Himal Hewage — who is also a judge and rated Sheikh lower than Riaz did — was also called out.

Josh Yugen, the owner of the Miss Universe Pakistan franchise, responded to Riaz’s letter saying, “The most beautiful crown is one built on integrity. Kindness is never weakness, and respect is never optional. May every future queen remember that true leadership is measured by how she treats others — even in the face of adversity.”

Called the Manifesto Library, the physical iteration of her book club Service95 — which she has been running since 2021 — will open at the historic Livraria Lello bookshop in Porto, Portugal today (June 27).

While this initiative is part of a multi-day celebration of the Livraria Lello’s 120th anniversary, the library will remain at the venue as a permanent feature.

In a press release, Lipa was quoted as saying, “When I founded the Service95 Book Club, my ambition was for it to become a home for writers and readers, wherever they are and whatever their circumstances. Reading the world brings us closer — but sadly, not everyone is in favor of that.”

She called the new library a “dream collaboration” and said that the carefully curated 100 books in its collection were works that “that ask questions or have been questioned”. She noted in the statement that many of the authors of these texts had “paid for their words with their life”.

The collection includes works such as Margaret Atwood’s The Handmaid’s Tale and Reginald Dwayne Betts’ Felon. Other represented authors include Salman Rushdie and Olga Tokarczuk.

“This library is a shrine to books that have disappeared, to authors whose courage unmasks structures of power and control, and to readers who refuse to be told what book they are allowed to read. You are invited to visit and decide for yourself what belongs on these shelves. Because sometimes the most subversive thing you can do is read a book and then talk about it,” the pop star said.

Books are a big part of Lipa’s life and public image, even outside of her book club. She met her now-husband Callum Turner at a bar and they got talking because they were both reading Hermann Diaz’s Trust. She was also a keynote speaker at the 10th anniversary celebrations of the International Booker Prize this year.

Now, with the release of a report from the UN-formed Independent International Commission of Inquiry saying Palestinian children have been deliberately targeted and killed by Israeli security forces, she has just one question for world leaders: “Where have you been?”

“Did you not see these kids as kids because of where they were born? Did you not think the 20,000 kids that were killed and the countless others under the rubble who died of starvation and other causes that would be so simple to treat,” asked a visibly upset Accurso in a video shared to her Instagram page.

She questioned whether those in positions of power realised the children of Gaza “had beating hearts like your kids”. She quoted parts of the report saying 151 children had died of starvation and mentioned “the deliberate targeting of children”, including an incident in which a breastfeeding baby was killed by quadcopter while inside a tent.

She wondered aloud what the leaders of the world had to lose by speaking up for what is right and asked how they were able to “go to sleep at night knowing you didn’t say anything”.

Accurso has been extremely vocal about the dire conditions facing children living through Israel’s barbaric war on Gaza. Her online advocacy has landed her in trouble with pro-Israel groups who have accused her of anti-semitism.

The YouTuber is a global ambassador for the Palestine Children’s Relief Fund (PCRF) and supports their activities in the United States with donations and by spending time with children the PCRF brings to the US for treatment. She’s developed a particularly strong friendship with Rahaf, a four-year-old double amputee from Gaza.

Mahnoor is the fourth Pakistani to be granted the honour and only the second Pakistani woman. Her win comes six years after the last time Pakistan won, Mahwari Justice said in a press release.

The awards, which are meant to celebrate young people’s contributions to development, are given out annually. One winner is selected from each of the five participating geographical regions and out of the five winners one is named Young Person of the Year.

As a regional winner, Mahnoor will receive a grant of £3,000 to help her organisation achieve its objectives. The Young Person of the Year — Ugandan solar-energy pioneer Shifra Ainomugisha for 2026 — will receive £5,000.

Mahnoor’s Mahwari Justice has made it a mission to spread awareness and education on menstrual issues and improve access to care for menstruating women.

The organisation was founded in 2022 in response to devastating floods and focused initially on providing feminine hygiene kits to flood-hit communities.

Since then, Mahnoor has worked on period education, developing a disability-inclusive guide on menstruation and having it translated into braille. The guide is now being produced in sign language.

She was also a strong advocate for the removal of taxes on feminine hygiene products, mobilising 10,000 signatures for the cause.

Her efforts and those of legal activists like Mahnoor Omer and Alisha Shabbir came to fruition earlier this month when taxes were withdrawn as part of the Federal Budget 2026-27.

That’s right, you best get your waffles ready, because Universal Pictures announced Donkey is getting a movie on June 30, 2028.

The chatty sidekick to the franchise’s green protagonist has long been an audience favourite with his happy-go-lucky attitude and witty dialogue. He’s voiced by Eddie Murphy, who will continue in that role for this project and the upcoming Shrek 5 — which will screen exactly a year earlier on June 30, 2027.

The upcoming movie, which does not have an announced title yet, is billed as an origin story explaining how a donkey became the Donkey. It is the second character spin-off to come out of the franchise after a series of films about Puss in Boots.

Speaking to Screenrant last year, Murphy hinted at the film. “Donkey’s going to have his own movie, own little story with his dragon wife and his kids that are half-dragon and half-donkeys… They’ve written this funny story.”

The film will be directed by Charlie Bean — of the Lego Ninjago Movie — and Matt Flynn. Rebecca Huntley, who produced the last Kung Fu Panda movie, will also serve as the producer for this project.

The Shrek franchise is one of the most iconic animated ones of the 21st century, with the first movie having taken home the inaugural Animated Feature honour at the Oscars in 2001. The four films have also collectively raked in $3 billion, with another $1bn coming from the Puss in Boots spinoffs, making it a commercial success.

Weinstein’s third trial in New York state court over an allegation that he raped aspiring actress Jessica Mann ended in a mistrial in May after jurors were unable to reach a unanimous verdict.

Mann accused Weinstein of raping her in a Manhattan hotel room in 2013 while Mann resisted and repeatedly said, No. Weinstein, 74, had pleaded not guilty to one count of third-degree rape and has denied assaulting anyone or having non-consensual sex.

A representative on Thursday said Weinstein was relieved by the outcome and believes the charge never should have been brought. Manhattan District Attorney Alvin Bragg’s office said on Thursday that testifying before two grand juries and three trial juries had been an “extraordinarily taxing ordeal for Mann and that she did not wish to take the stand again”.

Bragg’s office also said it asked the court to sentence Weinstein to 20 years in prison for sexually assaulting one-time production assistant Miriam Haley. Weinstein was convicted of raping Mann and assaulting Haley at his first trial in New York in 2020, but the state’s highest court overturned the conviction after concluding that he did not get a fair trial.

Weinstein, an Oscar-winning film producer and Miramax studio co-founder, has remained behind bars since his conviction was overturned due to his conviction in another case. More than 80 women have accused Weinstein of sexual harassment or misconduct, allegations Weinstein denies.

Originally published in Dawn, June 26 , 2026

So, in honour of FIFA fever, we’ve created a list of some of the stars the internet is keeping its eyes on during games.

Zidane Iqbal — Iraq

International heartthrob Zidane Iqbal is more than just a part of the Iraqi wonder-team that took the country into the World Cup after 44 years, he’s also the only Pakistani on the pitch.

We know you’re confused, let us explain. Iqbal was born in England to a Pakistani dad and an Iraqi mum. He is eligible to play for any of the three countries and chose to play for Iraq — we love him anyway, he’s one of us.

Erling Haaland — Norway

Six foot five and built like a Viking, Erling Haaland may only be described on the pitch as “a force to be reckoned with”.

Clips of the Norwegian giant chasing down an Iraqi player on the pitch went viral, with the fear in his opponent’s eyes clearly visible.

The Man City striker scored two goals in that game, taking his tally to four and putting him in second place for most goals scored in the tournament so far — right behind Messi.

Alireza Beiranvand — Iran

The most talked about team off the pitch also has the most talked about goalkeeper of the tournament.

Fans are convinced Alireza Beiranvand can block just about anything he puts his mind to, including the Strait of Hormuz if necessary.

He’s also part of a team that’s been doing rounds on social media looking just a little too good, but we’ll get you more on that another time.

Tim Payne — New Zealand

Okay, we’ll admit we haven’t seen any of the Kiwis’ football games, but Tim Payne has become an internet legend after getting a 10,000 per cent boost in his Instagram followers over three weeks.

Payne used to be the “tournament’s least followed player” with 5,000 followers. He now has 5,000,000.

Still, he told FIFA he hadn’t changed from the viral fame and that he was still a “hard-working Kiwi trying to represent our country on the world stage”.

What players are you watching this season? Leave your answers in the comments.

The British group of five young women formed in 1994, and the irrepressibly catchy ‘Wannabe’ was released on June 26, 1996, initially in Asia. It shot swiftly up the charts to number one in Britain, the United States and dozens of other countries.

“They weren’t just a throwaway pop band,” Dominic Mohan, a former editor of The Sun tabloid who covered the British music scene at the time, told AFP.

“They were very spirited and they had quite strong messages as well, about feminism and about girl power and about being who you are.”

And he said of ‘Wannabe’: “It’s one of those records, as soon as you hear it you realise that it’s going to go down in history.”

He has curated an exhibition at the Barbican Centre in London entitled 1996: 30 Years on running until mid-September, which features the Spice Girls and some of their iconic looks.

Band member Mel B loaned the leopard-skin catsuit she wore to belt out ‘Wannabe’ at the 1997 Brit Awards, where the song won two prizes. Unlike previous girl groups in matching outfits, each of the five Spice Girls had their own individual style.

Mel B, short for Melanie Brown, also known as Scary Spice, wore animal prints, Posh Spice Victoria Adams, now Beckham, had a bob and dark dresses and Baby Spice Emma Bunton preferred pastels and bunches.

Mel C, Melanie Chisholm or Sporty Spice, favoured sports gear and Geri Halliwell, or Ginger Spice due to her red hair, wore a short, short Union Jack dress and boots for the Brits performance.

‘Wannabe’ with its catchy refrain — “I’ll tell you want I want, what I really, really want” and its insistence that “friendship never ends” — became an anthem for a generation of young women. It has been played almost 1.5 billion times on Spotify.

The anniversary has revived talk of a possible reunion, although the bandmates have not all performed together since the 2012 London Olympics.

“It’s our 30th anniversary, I do think we should be doing something,” Brown told the Press Association this month.

“We’re all talking about it”, but “nothing has been confirmed”.

The women are said to have remained close, with four of them joining celebrations for Emma Bunton’s 50th birthday earlier this year.

A punk feel

In a sign of their lasting legacy, current stars including Taylor Swift, Dua Lipa, Adele and Charli XCX have cited their music as an influence.

“There’s a tendency, I think, for people to look back and think Spice Girls were really bubblegum pop,” Joel Gray, a lecturer in media, art and communications at Sheffield Hallam University, told AFP. But he argued “they actually had much more of a punk feel”.

The women’s raucous style also made them gay icons, Gray said, since “their loud and proud persona gave a platform to the LGBT audience”.

Both Mel C and Halliwell were named “honorary gays” by Britain’s Attitude, a top LGBTQ magazine.

The group was, however, put together and managed by men: powerful industry figure Simon Fuller oversaw the release of ‘Wannabe’, although the women subsequently sacked him.

Unlike some boybands of the era such as Take That, the group have rarely performed together since splitting in 1998 and going on to build successful careers, such as Victoria Beckham’s fashion label.

All five members sang at the 2012 Olympics, and their most recent performance was in 2019, without Beckham.

Given the ‘Wannabe’ anniversary, “I would have thought that they might re-form … for just maybe a one-off kind of gig or a few dates,” said Mohan.

So far, the group have only announced a T-shirt and a vinyl issue of ‘Wannabe’.

“I don’t think we’re going to see a permanent full-time reunion, but I could absolutely see them doing something again as a group,” said Gray.

“What I’ve learned with the Spice Girls is never say never.”

Predicted to be the biggest-selling cultural product of all time, speculation had been rife that GTA VI would cost players far more than a typical high-end title.

In the end, Rockstar and parent company Take-Two Interactive announced a price tag around $10 higher than the base version in the United States, landing at $80, and $100 for an “Ultimate” edition with additional content like weapons and vehicles.

Six years of development for GTA VI are estimated to have cost up to $2 billion, which had prompted fears it could cost as much as $100.

“If there is one game that can price at $80 without garnering significant player pushback, Grand Theft Auto VI is that game given its massive scale and anticipation,” said Andrew Marok of specialist consultancy Raymond James.

As pre-orders went live on Thursday, the price in Europe was 80 euros ($90).

In Japan, the PlayStation store listed the game at 9,800 yen ($61). In New Zealand, it was listed at NZ$140 ($79), similar to the price in Australia. In the UK, it was priced at £70 ($92).

Pre-orders have not launched yet in the Americas.

Disc disappointment

Fans of the GTA series, which dates back to 1997 when the very first 2D game was released, have been waiting 13 years for a new instalbasrment since 2013’s GTA V.

The 230 million copies moved made GTA V the second-best-selling game in history after Minecraft.

Finally getting his hands on the game “doesn’t exactly feel like a real thing that would ever happen”, said Red Young, a 26-year-old Scotsman who helps run fan site GTABase. It “is borderline a miracle”.

Anticipation was only stoked by successive delays: first from autumn 2025 to May this year, and next to November.

Some players were nevertheless shocked to learn that physical copies sold at retailers would contain a redeemable download code — likely meaning there will be no disc containing the game data.

There were grumbles on social media that the lack of a physical disc would eliminate any second-hand market for the title.

But these days, around 80 per cent of game sales on PlayStation and 90pc on Xbox are digital versions delivered over the internet, according to specialist firm Niko Partners.

Two independent North American retailers, Video Games Plus and Loot Box Gaming, announced on X that they would not sell the game unless a physical disc becomes available.

“The full launch including pre-orders will be the biggest entertainment launch ever… bigger than any movie, TV series, music concert or album,” said Piers Harding-Rolls of the UK-based data firm Ampere Analysis.

Analysts at the investment bank Piper Sandler expect around 45 million units to have already sold when the game is released.

Courting controversy

That should put GTA VI on track to top the record for the fastest cultural product to make a billion dollars in sales, set by its predecessor, GTA V, in barely three days.

Although millions of fans have been kept busy with the multiplayer version GTA Online, the anticipation for a true successor has been fierce.

The GTA saga’s action-adventure titles set in a sprawling open world have immersed players in high-definition imaginary cities heavily inspired by American metropolises.

This instalment’s Bonnie and Clyde-style protagonists will roam Vice City, a fictional version of Miami.

Variety reports the title will not have a multiplayer mode. Developer Rockstar Games was quoted as saying the game consists of “a single-player experience set in the biggest, most immersive evolution of the series yet”.

Each game offers players a huge degree of freedom to either carry out missions that advance the plot, or simply to explore the world on foot or at the controls of a fleet of vehicles — with the option to explode into guns-blazing criminal mayhem at any time.

Story missions often involve illegal activity ranging from burglary to murder and drug trafficking.

The focus on crime has created long-running controversy around the series, with some critics warning about its impact on young gamers.

All of its titles are rated for players aged 18 and over under Europe’s PEGI classification system.

Cover photo: Rockstar Games

On Tuesday, police in Sargodha arrested four people after a seven-year-old girl was found dead after having gone to a neighbourhood shop. Police arrested four suspects in the case with the prime suspect later being killed during an attempted escape.

On Wednesday, a three-year-old in Karachi was found murdered outside her home. The police surgeon said it was “one of the most horrific” cases she had seen in her career.

The little girl had gone outside to play at noon and her parents began to search for her when she didn’t return around four and a half hours later. Her grandfather found her body stuffed into a bag and left outside their house.

In the aftermath, many of the country’s celebrities had the same questions: how many more innocent lives have to be lost before we ensure our kids are safe?

Adnan Siddiqui, asking God to have mercy on the country, said animals shield their young from harm out of a natural instinct; how then had we humans failed to do the same for our children? He called for predators who targeted children to be given “the harshest punishment allowed by law”.

Ushna Shah called out the lack of meaningful action in Pakistani society in response to such incidents. She said Pakistanis will “blame victims” and “be outraged online”, but will not take steps amend laws to “make punishments for assault more brutal” or even “hold boys accountable for their actions” early in life.

“We will never take women’s rights as human rights. We will continue to blame victims.”

Ayesha Omar struck a similar tone on the need for societal change while talking about the gruesome murder in Karachi.

“The environment all over Pakistan is barbaric. I’m shaken, so, so, so angry and feeling hopeless about this country,” she lamented. “and that’s what they want, for women to always be fearful and hopeless.”

She said the only way out was for the ment of this country to “speak up, step up [and] hold other men accountable”.

Aiman Khan called for “justice, accountability and a society where everyone feels safe”. She said all victims were somebody’s children and no family deserved to go through such trauma.

Iqra Aziz was distraught, saying nobody could say when this cruelty would stop because everyone knew it can be committed with impunity. She said we had convinced ourselves that we can’t send our kids outside our homes, but we couldn’t bring the predators we so feared to justice.

We can only hope that the outrage over these horrific incidents leads to meaningful change in the way we protect our children but as many stars noted, the monsters who abuse these children are not always punished.

The Korean-Canadian rapper was seen wearing a t-shirt with the Confederate flag at a fan event, with his newly founded label Upper Room posting pictures and taking them down soon after.

The flag, which was used by the Confederate States of America during the US Civil War, has come to represent white supremacist ideals and the economic justification of slavery.

Users on X — fans and ops alike — knew this was something he’d have a hard time walking away from.

Seeing the backlash, Upper Room issued an apology on Tuesday. In an Instagram story, it said, “We would like to extend our sincere apologies for the concern, discomfort, and disappointment caused by the vintage T-shirt that appeared in a recently shared photograph.

“The garment was selected solely as a vintage wardrobe item,” it continued. “However, upon recognising the historical significance and sensitivity associated with the symbol displayed on the T-shirt, we took measures to ensure that it would not be visible in any official content. Despite these efforts, the image was subsequently shared externally.

“We take full responsibility for this oversight,” the label said. “Upper Room and the artist unequivocally reject and do not tolerate racism, hate, discrimination, or any form of intolerance. We are also grateful to those who brought this matter to our attention. In response, we will strengthen our internal review procedures for wardrobe selection and content approval to help prevent similar incidents from occurring in the future.”

People did not buy it, saying Lee grew up in North America and should have known better.

A user called it “laughable” how the moment Lee gained control over his public image, he pulled this stunt, after remaining generally unproblematic during his time with NCT.

Another said Koreans were sensitive when it came to their own history and expected other people to respect it — as evidenced by the backlash received by Starbucks recently. They said it was wrong of Lee not to afford the same courtesy to other cultures.

Users asked fans not to defend his actions and one even wondered if he had taken inspiration from Nicki Minaj — who has, in recent times, become an ardent supporter of President Donald Trump.

Lee has not addressed the controversy personally, even though some fans are demanding an apology. Upper Room’s statement can be said to be his — he founded the company earlier this month — but many have said that may not be enough in this case.

The name is a reference to a Biblical description of the land that is now Palestine and the ice cream is made with ingredients from Israeli settlements. Apart from the milk and the honey, tubs will also have chocolate chips in the shape of the star of David.

Needless to say, the internet was not on board with Israel co-opting the ice cream brand and users on X were quick to call out how the original founders of Ben & Jerry’s would hate what is going on.

Netizens weren’t surprised that a country built on land stolen from native communities would also steal a beloved ice cream brand’s identity.

Some people tried to guess at what the new flavour might taste like.

Others guessed at what flavours could be coming next.

Many just felt the whole exercise was sad — and maybe even a little pathetic.

Ben Cohen — the Ben of the original Ben & Jerry’s — is a fierce and outspoken critic of Israel and even made a special watermelon-flavoured sorbet in honour of Palestine in November. He was also arrested at the US Senate last month for protesting US complicity in the “slaughter” of Palestinians.

Jerry Greenfield — the other half of the name — resigned from the company in September after saying it had lost its independence when it came to social activism. The two had tried to ban the sales of their ice cream in illegal Israeli settlements in 2022, a move blocked by parent company Unilever.

One of the world’s most reclusive countries, the former Soviet republic adopted strict visa requirements after gaining independence in 1991 and closely monitors travellers.

While this policy remains largely in place, tour agencies in the Central Asian nation have noticed a recent decrease in visa rejections and this year authorities announced plans to expand the tourism sector.

At the archaeological ruins of Nisa, an ancient fortress near the capital, Ashgabat, AFP spotted a Western tour group taking advantage of this tentative thaw.

“I wanted to see what the mystery was about,” said Nick Frey, a 28-year-old US tourist admiring the fortress.

“I think the uniqueness is really what stood out.”

Turkmenistan declared itself “permanently neutral” under its post-independence leader Saparmurat Niyazov, a policy that he used to justify extreme constraints on contact with the outside world.

For 15 years, the former Communist official shaped the capital in his image, ordering it to be rebuilt as a marble citadel complete with a towering gold statue of himself.

Since Niyazov’s death in 2006, successive presidents — Gurbanguly Berdymukhamedov and his son Serdar — have kept the system in place, along with the cults of personality and grand architecture.

Ashgabat has the highest density of white marble buildings in the world, according to Guinness World Records.

‘World’s weirdest country’

Turkmenistan’s odd architecture and reclusiveness has made it a magnet for content creators on social media, some of whom have dubbed it the “world’s weirdest country”.

“The first thing I noticed was the whiteness of everything,” said Liza Zorn, a German tourist who visited Ashgabat.

“It was the first time in my life I saw white traffic lights.”

Among the sights she came to see was the “Gateway to Hell”, a gas crater that has been burning for half a century and is one of the more internationally known tourist spots in the desert-covered country.

Before arriving, all holidaymakers must prove their tourist credentials and their itinerary is strictly mapped out.

“You have to have your plans organised by a tour agency like ours and everything has to be approved,” said Effie Frank, a supervisor at the Saiga Tours travel agency.

In recent years her agency has not been refused any letters of invitation, essential for obtaining a visa.

“It does seem like it’s getting a bit easier to come to Turkmenistan,” she said.

After visiting Nisa, the 20 or so tourists with her group returned to Ashgabat for Carpet Day — a national holiday honouring Turkmen rug artisans — before visiting yurts and tasting local produce.

Carpets are one of the three most important national symbols, along with the Akhal-Teke horse and Alabai dog.

We are ready

President Serdar Berdymukhamedov, who runs the country in tandem with his father, appears to be warming to the new visitors.

“The country’s tourism industry is increasingly expanding,” he said earlier this year, adding that he wanted to develop international cooperation.

The industry is still in its infancy.

“Firstly, there needs to be political will. Secondly, a simplified visa policy. And thirdly, well-developed infrastructure,” a Western diplomat in Ashgabat told AFP on condition of anonymity.

These three elements are not yet fully in place.

While luxury hotels are springing up in Ashgabat and Avaza, the main seaside resort on the Caspian Sea, the rest of the country is poorly equipped for visitors.

Turkmenistan still relies almost exclusively on gas revenues to power its economy.

The country — which closed its state tourism authority during the Covid pandemic — does not regularly publish data on the number of arrivals.

But Azat, an employee at a local travel firm, was enthusiastic.

“Tourists visiting this country could, with multiple-entry visas, continue their tour along the Great Silk Road,” he told AFP.

He also proposed collaborating with Uzbekistan, as there are many archaeological sites close to the border that are inaccessible to foreigners.

“We are ready to welcome large numbers of tourists from neighbouring countries,” he said.

A law passed last year to introduce electronic visas is yet to be implemented.

The three filmmaking unions representing producers, actors and directors recalled in their joint statement that the advance tax had been introduced in 2013-14 by then finance minister Ishaq Dar “as part of a policy framework to strengthen indigenous media.”

Reaffirming their support of tax reform, the unions demanded that any policy affecting Pakistan’s creative economy “must be preceded by meaningful stakeholder consultation” and called for the formation of a National Creative Economy Policy to address matters impacting the local creative industry.

“Reversing a policy that has remained in place for more than a decade should only occur after a comprehensive economic review and consultation,” the statement said.

The media industry is a source of livelihood for thousands of professionals and their families across television, film, digital media, advertising, music, animation, post-production and related sectors, the unions said, respectfully requesting the government to:

1. Suspend implementation pending stakeholder consultation
2. Convene an urgent meeting with all relevant stakeholders
3. Public an economic impact assessment
4. Develop a national creative economy policy

The joint statement comes days after actor Faysal Quraishi expressed concerns about the proposed policy shift. In a video posted on his Instagram account in collaboration with ACT on Saturday, the actor warned the move would result in local artists, technical crew and other people associated with filming losing their jobs.

Last week, actor and director Shamoon Abbasi also objected to the move, saying it took Pakistan “10 years to re-establish our drama industry” after a prior surge in the airing of foreign content.

“Bringing back foreign content to Pakistan will destroy the actors, producers, directors [and] writers once again,” Abbasi said.

The companies said the initiative will focus on helping artists ​develop new creative workflows and techniques while ​ensuring future tools are shaped by the ⁠creators who use them.

In a press release from Google, Deepmind CEO Demis Hassabis was quoted as saying, “We believe the best way to develop tools that empower artists is to work directly with them. By collaborating with filmmakers and industry leaders like A24 from the beginning, we can build new AI features to support artists in authentic, meaningful storytelling that helps enable their creative vision.”

In recent years, A24 ​has produced horror film Backrooms, Timothée Chalamet-starrer Marty Supreme and ​Oscar-winning adventure film Everything Everywhere All at Once, among others.

Under the agreement, A24 and Google DeepMind will collaborate on ​multiple research and development projects over time.

Alphabet’s Google has also made a $75 million investment in the independent ‌film ⁠studio, the Wall Street Journal reported on Monday, citing people familiar with the matter. DeepMind did not comment on the investment’s value.

A24 will play ​an active ​role in ⁠developing new workflows, while filmmakers will retain full creative control, a source familiar ​with the matter told Reuters, adding ​that ⁠the arrangement is not an intellectual property or data-training deal.

The partnership will give A24 access to ⁠DeepMind’s ​research, infrastructure and global reach, ​the source said.

Both actors shared on their respective social media accounts on June 22 copies of a settlement agreement that stated the terms of their resolution.

The dispute between both actors began when Shajaffar appeared on the YouTube show Say It All with Iffat Omar, claiming that a person identified as “Arsalan” had caused her to feel “uncomfortable” on set. She had clarified on social media that she was not talking about Arslan Khan, her College Gate costar.

Butt’s connection to the incident was attributed to Omar, the host, who purportedly said he was the one being discussed.

Following this disclosure, Butt sent Shajaffar a legal notice against “false, baseless, malicious and defamatory” comments, and said her statements had caused “serious reputational damage, mental distress, humiliation and public embarrassment” to Butt.

Butt’s notice demanded Shajaffar “retract the allegations”, “take steps for the removal of the defamatory content”, “issue a clear, unconditional public apology and retraction” on YouTube and “refrain from repeating such allegations in the future”.

Shajaffar, in turn, issued a Rs 1 billion counter-notice to Butt, terming his legal notice “false, misconceived, mala fide, legally defective, and apparently issued with ulterior motives to pressurise, intimidate and silence my client (her) after repeated acts of harassment committed by your client (Butt)”.

The settlement reached by both parties on June 19 said that “certain misunderstandings, differences and controversy arose between the parties, including matters relating to personal statements, communications, legal notices, complaints and/or proceedings initiated or contemplated before different forums and institutions”.

It added that the parties had agreed to voluntarily resolve disputes, differences and controversies amicably in the presence and with the help of “respectable elders, well-wishers and mutual mediators”.

As per the agreement, both parties agreed to put the matter of “alleged workplace harassment” behind them and declared it “amicably resolved”.

“Both parties confirmed that the matter has been fully and finally settled,” the document said.

“No claim, allegation, ambiguity, misunderstanding, grievance or dispute now remained pending between the parties arising out of any incident, statement, communication, notice, complaint, interview, social media content, legal notice or any other matter occurring prior to the execution of this agreement,” the agreement clarified.

Both parties agreed that “All past events, statements, allegations, complaints, notices, legal communications and disputes are hereby mutually forgiven, withdrawn, settled and brought to an end.”

The agreement clarified that it was not to be “treated as an admission of guilt, liability, misconduct or wrongdoing from either party”.

The agreement said both parties were not to “make any defamatory, hostile, threatening or adverse statement against each other” and that they would “cooperate in withdrawing, closing, not pressing or rendering infructuous any complaint, application, notice, claim or proceeding filed by either party against the other”.

Shajaffar told Images she was unwell and could not attend court hearings, so she chose to settle the matter out of court. She said Meer Sikandar — the director of Meesni, in which both actors were co-stars — helped guide them to the settlement.

With additional reporting by Imran Gabol

Ben Hania’s film The Voice of Hind Rajab won the festival’s second-highest honour and received a record-breaking 22-minute standing ovation at its festival showing.

The jury is headed by American filmmaker Maggie Gyllenhaal, whose psychological thriller debut as a director earned three Academy Award nominations and The Venice Film Festival’s Award for Best Screenplay. She’s also an accomplished actor, having earned an Academy nod for her performance in 2009’s Crazy Heart.

Ben Hania also has an impressive collection of Oscar nominations, most recently getting a Best International Feature Film nod for The Voice of Hind Rajab — her second recognition in the category after a nod for The Man Who Sold His Skin in 2021.

Her last film, The Lost Daughter, won the L’Œil d’Or at Cannes and was nominated for the Academy Award for Best Documentary Feature.

Dissident Afghan filmmaker Shahrbanoo Sadat is also on the panel. Sadat’s film No Good Men — part of a five-part series inspired by the unpublished autobiographical manuscript of her longtime friend and collaborator, Anwar Hashimi — opened this year’s Berlinale Film Festival.

Other jurors include Britain’s Daniel Blumberg, Italy’s Francesco Casetti, France’s Xavier Giannoli and Taiwanese Johnnie To.

The jury will award the Golden Lion for Best Film, Silver Lion - Grand Jury Prize, Silver Lion for Best Director, Coppa Volpi for Best Actress, Coppa Volpi for Best Actor, Special Jury Prize, Award for Best Screenplay, and Marcello Mastroianni Award for Best New Young Actor or Actress.

The festival’s 83rd iteration will be held from September 2-12.

Cover photo: AFP

The sequel, which debuted over Father’s Day weekend, features Woody the cowboy, Buzz Lightyear and their gang of toys fighting for survival against competition from technology, particularly a tablet.

“This is prime family moviegoing season and Toy Story is delivering,” said industry analyst David A. Gross.

Gross called it “another sensational opening for a Pixar series sequel,” noting that Toy Story 5 had the best starting weekend for any film in the franchise, an estimated 37 per cent higher than Toy Story 4. That will likely make it the second-biggest animated movie opening of all time, behind Disney unit Pixar’s Incredibles 2, which made $182.7m in June 2018, he said.

“Family moviegoing has been leading the industry since it came roaring back from the pandemic in 2023,” Gross added. “A lot of the genre’s success is coming from sequels, live-action remakes of animation pictures, and hybrid combinations.” Toy Story 5 — which returns with Tom Hanks, Tim Allen and Joan Cusack voicing key characters — opened on 4,425 screens across the United States and Canada over the weekend, Exhibitor Relations’ estimates showed.

Runner-up in the weekend box office take was the Stephen Spielberg-directed sci-fi thriller Disclosure Day, which debuted the previous weekend.

With an ensemble cast led by Emily Blunt and Josh O’Connor, the action-packed Universal film follows an effort to reveal a decades-long cover-up of extraterrestrial visitations.

It brought in an estimated $17m, lifting its total to $78.2 million, according to estimates.

In third place was Focus Features’ indie horror hit Obsession, which took in another $14m in its sixth week out for a total domestic haul of $215.8m, data showed.

A24’s horror film Backrooms remained in fourth place with $7.3m, taking its domestic total to $175m in its fourth week out.

Coming in fifth was Paramount’s Scary Movie, a reboot of the parody franchise, earning $6.7m in its third week out.

Rounding out the top 10 were: Masters of the Universe ($5.6m), Star Wars: The Mandalorian and Grogu ($3.9m), Leviticus (debuted at $2.7m), The Death of Robin Hood (debuted $2.6m) and Michael ($2.2m)

Cover photo: The Walt Disney Company.

We begin the conversation by talking about the TV serial Dr Bahu, which she has directed and is currently on air, receiving rave reviews. I ask her how the project came about. She tells me that, a couple of years ago, the idea was first brought to her by actor and producer Humayun Saeed, who heads the production house Six Sigma and who believed it had the makings of a strong commercial drama. At the time, she had little interest in returning to long-form television.

“I wasn’t doing long-form serials those days,” she says. She had been dabbling in miniseries such as Nadaan and Jurm. But then director Nadeem Baig, who’s also part of Six Sigma, persuaded her to read the script and told her that if he weren’t so busy, he would have directed it himself. “Nadeem kept telling me, ‘Just do this. Trust me.’”

Not just a gharailoo drama

Although Dr Bahu initially appeared to revolve around familiar themes of family politics and in-laws’ relationships, she discovered a far more layered narrative beneath the surface.

“Yes, it is a story about a family and a bahu (daughter-in-law),” she admits, “but there were so many different threads and issues running through it. It wasn’t typical. It was fast-paced and the characters were interesting. I thought, why not?”

Director Mehreen Jabbar has returned to long-form television after a long time with her latest serial Dr Bahu. What enticed her back? Why hasn’t she made a film in 10 years? What does she think about the changing dynamics of the industry? How does it feel to split her life across the globe? And how is age affecting her?

What also attracted her was the fact that it featured a strong female lead.

“She is a progressive, proactive woman and not a goody-two-shoes and nor a victim. She makes mistakes and is headstrong. It’s a blessing to find female characters who are proactive and who have agency. Honestly, it’s very difficult to come across well-written serial scripts and I felt it was worth doing.”

The more things change…

Since she has been working in the industry for more than three decades, I ask Mehreen how she thinks it has changed.

She says that, while the technical aspects of television production — such as equipment, cameras and production design — have improved considerably, there is still significant room for progress. In some cases, outdated equipment is still in use. She remarks, “How we do things on such limited budgets and crew members compared to productions abroad is nothing short of a miracle.”

In terms of content, however, she believes the industry has become less adventurous.

“When there were only two or three channels, there wasn’t this rat race for ratings,” she says. “There was more room to experiment because ratings didn’t dictate content in the way they do now.”

I ask her to elaborate. She points to some of her own early work as evidence of a period when television was willing to take greater creative risks. In the 1990s, she directed projects such as Faraar, which followed three independent women living in Karachi, Putli Ghar, a psychological thriller and Sham Se Pehlay, a story about two older people who fall in love.

“At that time, there were lots of different themes being explored,” she recalls. “Writers such as Bano Qudsia and Ashfaq Ahmed were creating very interesting and unconventional stories.”

She adds, “I don’t think a project should be judged by the number of YouTube hits. I’ll give you the example of a fantastic series, Aik Aur Pakeezah, which is brilliant. It did not get as many views on YouTube as some of the more commercial series, but it was critically acclaimed and widely talked about. So that should not be the barometer of whether projects should be produced or not.”

Payments, she feels, have not significantly improved either. People frequently complain that payment delays exist because advertisers do not pay channels on time. As a result, channels delay paying production houses, which then cannot pay actors and crew promptly.

I ask her if she thinks things could be moving towards improving.

“I think they’re worse,” she replies emphatically. “It wasn’t like this before. I don’t remember begging or pleading for money — for myself or for crew members. Everyone is blaming everyone else. An industry like this, which employs thousands of people and generates so much revenue, should figure out how to conduct its business professionally. There should be a set payment cycle and people should just be paid on time. I don’t know why it can’t be done.”

I think I generally try to stay as realistic as the scene requires. I’m more aligned with the school of thought of realistic cinema — neorealism — so I like that kind of filmmaking…” She adds: “I love one-takes. I feel that sometimes, when you cut, you lose the intensity of the scene.”

The case for realism

I steer the conversation toward more pleasant topics and note that one of the defining aspects of her work has been realism. For example, her characters are never overly made up, and certainly not styled as if they have just woken up all dressed up in the middle of the night, which is still the case in many dramas today.

Similarly, Saba Hameed looks far more natural and less made up in Dr Bahu than she did in Noor Jehan, even though both characters come from similar upper-class backgrounds.

“Well,” she surmises, “her character was very different from Noor Jehan, in which she was the head of the house. In this, she is a victim of her husband, the head of the household.”

She attributes the realism to her team and assistant directors, as well as to her own brand of filmmaking. “I think I generally try to stay as realistic as the scene requires. I’m more aligned with the school of thought of realistic cinema — neorealism — so I like that kind of filmmaking.”

Has her style or how she approaches filmmaking changed over time, I wonder.

“I don’t know if the style has changed,” she responds. “I would say I’m more confident in the day-to-day craft of filmmaking. Having done it for so long, I kind of know where to put the camera and how to make a scene work quickly.”

She adds: “I love one-takes. I feel that sometimes, when you cut, you lose the intensity of the scene.”

She does admit that she is perhaps too entrenched in TV. “When I make my third film, I’ll have to really challenge myself to get out of TV mode and think cinema, which I can do because I do love films, and I think I have the eye.”

Return to films?

I was going to ask her about her long hiatus from cinema but she preempts me. She says her next dream project is to make a film, and she is currently dabbling with a couple of subjects — one a psychological thriller, and the other a social drama.

“I have to decide which one I want to go with. And I want someone to give me the money to make it. While I’m waiting for someone to give me money to make it, I will continue working on serials.”

I ask her why she hasn’t made a film recently. In fact, her two ventures on the big screen were 18 years and 10 years ago — Ramchand Pakistani (2008) and Dobara Phir Se (2016) — but she has always spoken, in her understated way, about her passion for cinema. The reason, she says, is partly practical.

“The movie business is a tough one,” she says. Unlike television, where projects move relatively quickly and payment structures are still relatively predictable, filmmaking demands years of commitment. She also believes films require complete creative immersion.

“A film has to be a passion project. You can’t do a hundred other things alongside it. You have to stop and dedicate yourself entirely to it.”

It is this immersion she misses most about making movies. “I think what I miss about making a film is that you can just drown yourself in that one story. It’s a labour of love.”

This is one of the differences she says between the two media, as a TV drama may occupy a director for a few months, but a feature film can remain with them for years. “A film is a process from writing, all the way to the final product,” she explains. “It lives with you for a minimum of two years, if not three or four.”

Another distinction she draws between television and cinema lies less in aesthetics and more in how audiences consume stories.

“People grow with television,” she says. “Especially long-form TV, where you can take your time telling a story over four or five months.” This gives viewers time to form connections with the drama. Cinema, by contrast, offers no such luxury.

“In a film, you have to captivate the audience within a very short span of time,” she says. “You have to be good enough to make people sit through it and then tell others to go and pay for a ticket and popcorn. The stakes are much higher.”

Contrary to periodic declarations that cinema is dead, she believes the problem is more structural than creative. She notes that there is a renewed interest in cinema, with initiatives such as Punjab Chief Minister Maryam Nawaz’s proposed film city as well as a growing number of institutions training aspiring young filmmakers providing evidence that interest in the medium is steadily building.

“There are a lot of young people who want to build a future in film,” she says. “That’s a good thing.”

But she stresses the need to expand cinema infrastructure beyond a handful of multiplexes in major cities, making theatres more widely accessible. “The biggest hurdle is that there are not enough cinemas,” she says. “And there are not enough cinemas because there are not enough films being produced. It becomes a vicious cycle.”

One criticism frequently levelled at Pakistani films is that they often look like extended television dramas. Mehreen, however, rejects the distinction. “I’m not a believer in people who say, ‘This looks like a drama’ and ‘This looks like a film,’” she says.

For her, the visual language of a film is determined by its story rather than by arbitrary notions of scale. A science-fiction film, action blockbuster or historical epic naturally demands a larger-than-life canvas. A family drama, on the other hand, may require something far more intimate.

“If you’re telling the story of a family in a house, you’re not suddenly going to make it look grand just because it’s a film,” she says. “Cinema doesn’t need people running through forests and singing songs,” she says with a laugh. “It’s all about the script.”

She is equally dismissive of another common complaint: that Pakistani films rely too heavily on television actors. Given the absence of a robust film industry, she argues, filmmakers have little choice.

“We don’t have a film industry, so where are we going to get our actors from? “You can cast a completely new actor,” she says, “but people are more likely to buy a ticket if they see a Humayun Saeed, a Fahad Mustafa, a Mahira Khan or a Mehwish Hayat.”

The passion to tell stories

Despite all the frustrations, what keeps her going, I ask. “Because that’s the only thing I know how to do. Otherwise, what would I do? I don’t know how to make money otherwise,” she says, self-deprecatingly.

I remind her that during our previous interview, a decade ago, she said that telling stories drives her — does she still feel the same?

“Yes, obviously. Because there are so many stories to tell, and so much maza (fun) in telling them. There are so many facets of human relationships and human character to explore — it’s endless.”

And although the ingredients in most stories are the same — love, jealousy, heartbreak — she believes there are infinite ways to tell them, because the context can always change.

“I just love delving into people’s dark, secret lives,” she says with a laugh.

She is currently working on another serial with Sanam Saeed and Emmad Irfani. “It’s going to be interesting. It’s very, very contained. Unlike Dr Bahu, it’s a much more streamlined story.”

New York vs Karachi

Mehreen has long settled into a life split between New York and Karachi over the past 24 years. Broadly speaking, New York is where she lives a more unstructured, personal life (although she does some of her post-production work there), while Karachi is where she works.

What she loves about New York, she says, is the presence of friends who have become like family, and the sense of independence it gives her in everyday life. The city also keeps her connected to a wider cultural world — “world cinema, world theatre, exhibitions.”

On the other hand, Karachi offers comfort, family, and work. “I love working here,” she says. I ask her if living away prevents her from feeling the pulse of audiences here. She replies in the negative, saying she remains closely engaged with Pakistani television, makes a conscious effort to stay updated, and watches the latest serials.

I ask her whether she is a workaholic. She says no, “I used to be, not anymore. What I love to do now is go to the gym. Because I feel more and more, as one is growing older, it’s so important to learn about building strength for later on in life.”

Alongside this, she speaks about a growing desire to travel more and see more of the world. With fewer familial obligations, she feels a certain freedom in shaping her time differently. “As I don’t have a family, my responsibilities, thankfully, are not that many,” she says.

When asked if that was a conscious choice, she is matter-of-fact. “It just never happened. Never wanted kids, never happened. Zero regrets.”

She also speaks about wanting to return to reading. “I definitely want to restart reading,” she says. “I’ve become too involved in video games on my phone, which I play to relax.”

She remains deeply drawn to television and film and wants to watch more of them — no surprises there — and is also a foodie. “I love going for brunch with friends,” she says. She is also a long-time vegetarian, although not vegan. “I love cheese and eggs. I love food.”

As the conversation winds down, I ask her if there is a question she has never been asked but feels she should be. She pauses, then says it would be: “How does one’s state of mind or general attitude change as one grows older?”

Her answer to her own question is nuanced and reflective. “There is more thehraao (calmness),” she says. “One becomes more self-assured and has fewer conflicts with oneself. There is a greater appreciation of self-worth and a tendency to live life on one’s own terms, rather than worrying about what random people think. There is also a humbler approach to life. That’s what comes with age.”

It is this calmness within her that seeps into her work, which has long been anchored in restraint rather than spectacle. That quiet self-introspection, too, feels inseparable from her craft — shaping her not just as a director, but as a storyteller who observes more than she imposes, and trusts silence as much as dialogue.

Published in Dawn, ICON, June 21st, 2026

Cover photo: Stephan Andrew/White Star

Gul Pir took to Instagram to announce the birth of his son, Salar, and the timing of the announcement perfectly coincided with the holiday celebrating his induction into the Cool Dad’s Club.

The comedian shared pictures of himself and his wife, Dr Azeemah Nakhoda, with their baby. He also shared a video of all the Father’s Day gifts he got from his wife to celebrate the occasion.

In a touching caption, Gul Pir wrote that the moment he first held his son, his wish was to give the child “all the happiness in the world” and shield him from all pain ever.

He said he realised this wish wouldn’t come true — that the boy won’t be happy all the time, and that pain may teach him a few lessons — but Gul Pir would always have his son’s back.

“Will love you till the end and be there as your Baba. Happy Father’s Day to me,” Gul Pir said.

Separately, Karachi-based mithayi shop S Abdul Wahid posted a reel with mithayi gift boxes prepared for the announcement of Salar’s birth.

The clip of the blue, bassinet-shaped boxes was shared by the new dad on his Instagram story.