The Express Tribune

If Saif Ali Khan’s ‘apology’ to Kangana Ranaut was not bad enough, the man has gone ahead and penned an open letter on nepotism now, and oh boy, what a treat it is! First, a bit of background – Karan Johar, Varun Dhawan and Saif Ali Khan, the three privileged elites of that ‘big family’ called Bollywood who have made it bigger in the industry by virtue of having influential insiders for parents, took on a lone self-made woman who called out the ‘big daddy’ of nepotism in the film industry. Thankfully, their “nepotism rocks” joke managed to blow up in their faces because people on social media went berserk on all three. https://www.youtube.com/watch?v=UkmtHP9BLfk Eventually, the trio tried their best apologising, or at least sounded so. When I say ‘tried their best’, I am being kind. Dhawan apologised to ‘anyone’, Johar’s was less of an apology and more of a rambling by a nepotism apologist. The best, however, was from Khan. Not only did he fail to apologise at any point, he also went on a tirade about how he too is a victim of nepotism and something about ‘genetics’ and ‘eugenics’. Once again, people did not let it go and he was ridiculed some more. Khan, sadly, did not stop there. To prove that he is a cultured man and an ‘intellectual’, he penned an open letter to “whoever it may concern”, to elaborate his views about nepotism and eugenics. That open letter, however, is likely to give you a headache worse than a migraine when you are hungover on a Monday morning. He says,

“I apologised to Ranaut, so I do not owe anybody else an explanation,” and then proceeds to give a long winded explanation.

On the matter of eugenics, Khan writes,

“Three reporters from the websites Bollywood Life, The Quint and Elle India, made a point of saying that all I did was use big words like eugenics and genetics. I think it is extremely relevant in a conversation on nepotism, which means family favouritism, to talk about genetics and eugenics. Eugenics means well born and in a movie context, the genes (the DNA we are born with, not the blue trousers we wear) of, let’s say Dharmendra’s son or Amitabh Bachchan’s son or for that matter, Sharmila Tagore’s son come into play. Because people are interested in what their children will be like and whether they will have the genes of their parents, in terms of their talent. If you need another example, then take race horses. We take a derby winner, mate him with the right mate and see if we can create another grand national winner. So, in that sense, this is the relationship between genetics and star kids. Hope that is clear?”

Nope, it is not. First of all, for those who do not know, eugenics is the science of improving a population by controlled breeding to increase the occurrence of desirable heritable characteristics something Hitler once tried to do, if you remember. Secondly, did he just compare people to racehorses? Also, is he implying that only people born in Bollywood homes are ‘good horses’? Even if we ignore the glaring gaps in Khan’s knowledge of biology, anthropology and history, you cannot ignore his condescension. Moreover, he asks a journalist who seems to have a better grasp on the meaning of the word ‘eugenics’ than him, to get her ‘head out of the hemline of the actress of the month and read a book’.

“As for the girl from Elle,” he says, “I’m sorry you found words like eugenics in a conversation about nepotism misplaced. Perhaps if you got your head out of the hemline of the actress of the month and read a book, your vocabulary might improve.”

Furthermore, he refers to a grownup woman as ‘girl’. Way to infantilise your critics, sexist uncle ji! Moving on, he further states,

“Nepotism is probably least prevalent in the movie industry and rampant in politics and business. Nepotism in dynastic politics is a well-known and unspoken truth. It’s the same in business. But nobody talks about that. Nepotism is Donald Trump putting his daughter in the White House rather than someone who is better qualified. Actors are the soft targets.”

There are so many things that are wrong here, it is hard to decide where to begin from. On what basis does the son of a famous actress and a famous cricketer (who was a former nawab), have the audacity to say “nepotism is probably least prevalent in the movie industry”? He also says that nepotism is rampant in politics and business. I wonder if in his la la land imagination, Khan thinks that the film industry is not a business. Perhaps he thinks it’s a non-profit organisation. He also seems to think that nobody talks about the nepotism prevalent in politics. If actors are soft targets for nepotism, then Rahul Gandhi must be an actor. And if he really thinks the media does not talk about nepotism in politics, especially about Trump and his daughter Ivanka, then he needs to stop watching his own movies and start watching the news. [caption id="" align="alignnone" width="600"]

Photo: Screenshot[/caption] He then says,

“What’s at play here are three systems. Aristocracy, the rule of the best, which is what this industry is. Ruled by the best. Also, meritocracy. It is ruled by the people with the most talent and it’s also ultimately tempered by democracy, which is people power. Nepotism cannot work in the film industry because it is a democracy. The film industry is the fairest line of work. So yes, maybe I got a chance because of my mother, but that is more genetics than nepotism. It’s a genetic investment that the producer was making.”

A man who was born in a royal family does not know what aristocracy means. Oh Lord. Aristocracy is “the highest class in certain societies, typically comprising people of noble birth holding hereditary titles and offices” that sounds awful like Johar. Also, the man really needs to stop using the word ‘genetics’. It does not make him sound smart. Finally, he writes,

“Johnny Depp once told Kate Moss – I had forgotten his advice and I am never going to forget it again – never complain and never explain. That’s good advice, I think,” (after whining on and on in more than a thousand words.).

The last thing anyone needs is Khan’s advice. Though there is one for him – shut up, please! This post originally appeared here.

If I had Rs10 for every time someone in fifth grade told me I was ‘bossy’, I would probably not need a job right now. There are certain labels that when attached to women, automatically become an unattractive quality. Men are aggressive while women are angry, men are tough while women are bossy, and men are protective while women are clingy. Men are free to be many things while women have to fit into predefined boxes. You can be the girl next door, the femme fatale, the other woman, or just ‘one of the guys’. These are some of the ‘types’ of women and the media constantly tries its best to present us in as many one-dimensional ways as possible. Unfortunately, being inside a box makes it even harder to speak up – raising your voice can simply land you in a different box. Many women ultimately stay silent in the face of harassment or everyday sexism because silence lets you keep your career, whereas fighting gets you the ‘feminazi’ label. In an industry such as Bollywood, where nepotism has prevailed for decades and sexism can be found in the roots of its organisation, most actresses stay silent about the issues they face. This way they get to work with famous names and have great careers until they reach their 30s and become too old to be considered a believable female lead for a man in his 50s. Most actresses take the easy route and endure. Kangana Ranaut, however, is not like most actresses. The intention is not to allege that women perpetuate sexism in an inherently sexist industry by enduring it. It is obvious that most actresses do not have the luxury of choice when it comes to the actors they work with or the age at which they stop getting roles. And while some may endure it, some actresses fight back in their own way. Priyanka Chopra fights back by embracing feminism and being vocal about focusing on her career. Deepika Padukone fights back by earning more than her male co-stars. But Kanagna fights back – literally. Ranaut’s charm lies in, beyond anything else, being supremely talented. She is not a daughter to famous parents, neither has she been groomed through the Miss Universe pageant. She is quite plainly an outsider who, for the longest time, could not even speak a word of English. She struggled for years before making it big with Queen in 2014, and whilst most celebrities do not desire to offend anyone after achieving fame and success, Ranaut’s trajectory has perhaps been the opposite. She has undoubtedly become even more vocal than she already was after her success, never shying away from telling her side of the story or calling people out for perceived wrongdoings against her. Queen was possibly a wake up call, not just for the industry but for Kangana as well, that a good script with a talented lead will become a great film despite being low budget, not including famous names and being centred on a woman. In this small set up, Ranaut shined so bright that audiences could not shy away from noticing her existence, this time without any big names or elaborate dance numbers to distract them. In the past several years, Ranaut has found herself engaging in controversy after controversy, from revealing past affairs with married men to openly having spats with celebrities and directors alike. Earlier this year, while on the couch for Koffee with Karan, she did the unimaginable, what no one had done before – she called Karan Johar out on his own show. It is no secret that Johar indulges in nepotism and propagates favouritism in the industry; he himself has admitted to this practice and has even blamed the audiences for its continuance. https://www.youtube.com/watch?v=9XYXc20Tf9U Hence, what shocked people was not the statement itself, but the fact that it was said in the first place. That an actress would be brave enough to stand up to a top-notch director on his own talk show and call him “the flag bearer of nepotism”. Her bravado did not end here. In her latest effort to promote her new film Simran, Ranaut once again proved why she is constantly lauded for being brave in an industry where parentage is rewarded and bravery is mocked. Starring in a collaboration video with AIB, a comedy group known to cause controversy, Ranaut once again challenges the culture and breaks the norm in seven minutes and 15 seconds. Jokes were made at everyone’s expense – the industry’s habit of creating smart female characters only to never bring up how smart they are, the director’s practice of pandering to the male leads whilst the women are deemed replaceable, or my personal favourite, the reminder that having men romance actresses half their age on a regular basis is almost paedophilia. It bears noting that Ranaut doesn’t gain much by going against the top guns in an industry or by calling people out. She has been accused of being a liar, of playing the victim and of playing the woman card. Her actions put her name in the bad books of many artists and directors who are friends of Johar, which certainly does not help her career. She is fighting alone, while the other side has banded together with most of the industry providing their support to the side that already has the power balance in its favour. And yet what she says has resonated with people. There are of course people who openly side against her, people such as Farah Khan who accuse her of playing whatever it means to play the “woman card”. Nevertheless, Ranaut persists. She has managed something at this point of her career what many women struggle with during their lifetime – she has broken out of her box. Angry, evil, entitled, she is embracing words which for centuries have been commonly and colloquially used to demonise and constrain women. Yes, she has been the other woman multiple times, but in both cases, she acknowledges that while it is not the right thing to do, the fault ultimately lies with the person already involved in a committed relationship. She repeatedly spoke out against a practice that has shaped Bollywood as an industry, and called out a top director knowing it would only hinder her chances of work in the future. She participated in a video mocking these age-old practices and the industry itself, a video perhaps no other successful actress has ever done. Just like Taylor Swift in ‘Look what you made me do’, Ranaut is fighting not just for her gender and her career, but also her reputation. And given that her voice is resonating with Bollywood audiences across the globe, I reckon she just might emerge victorious.

Some films can be declared hits or flops even before they release, based on the strength of their trailers and the audience’s response to it. Watching the trailer of Welcome To New York – which is director Chakri Toleti’s first venture in Bollywood – instigated a feeling of disappointment not unusual in the industry, as audiences wondered what the plot was and why they should go to the theatres. Even though the cast has a plethora of popular names, in terms of its content, the film did not appear to offer much to get excited about. https://www.youtube.com/watch?v=4dCJgNzgs3c The film is set amidst the backdrop of the International Indian Film Academy Awards (IIFA), the most stylised award show Bollywood has to offer. Teji (Diljith Dosanjh) is a recovery agent who wants to be a movie star, and his gang mates are sick of his ambition. Jeenal Patel (Sonakshi Sinha) is a fashion designer who, due to her frequent tantrums, is not doing well in the industry. Things change when Teji and Jeenal both happen to win a free ticket to attend the IIFA Awards taking place in Amsterdam, and they both fly off for the big show with the hope of showcasing their respective talents to the industry. Most celebrities in the film, such as Riteish Deshmukh and Karan Johar, play themselves, while others such as Boman Irani and Lara Dutta play fictional characters. The film is also loaded with guest appearances from every other celebrity who attended the IIFA Awards in 2017. These unpredictable and random appearances by celebrities are perhaps the only reason the film manages to engage the audience for a scene or two. The cameos include prominent celebrities such as Salman Khan and both his brothers, Aditya Roy Kapoor, Rana Daggubati and Sushant Singh Rajput, amongst others. However, with the exception of Khan and Daggubati, all of them too fail to leave a mark. The entire plot revolves around the award show, and while the writers try to bank on celebrity appearances and humour, the film itself has no substance to engage the viewers for long. Sonakshi Sinha is almost unbearable on screen and fails to do justice to the character of a Gujarati girl. Diljith Dosanjh, on the other hand, is a good actor and manages to give his best, but there is only so much a good actor can do with a poor script. However, if the film has any saving grace at all, it is undoubtedly Dosanjh. As usual, Boman Irani needs to polish up and start doing different (read: sensible) characters for a change. Lara Dutta, conversely, reminds us that we’d like to see more of her on the big screen on a regular basis, yet her character is poorly written and does not do her justice. Giving credit where it is due, there is a scene where Dutta and Irani share a pizza, and it is an incredible performance from both actors. Karan Johar appears as himself through and through, the way he does in any reality show – a brand and self-obsessed director who tries to venture into acting every chance he gets even though he cannot act. On the other hand, it is unsurprising to see Riteish Deshmukh in the film, as he manages to be cast in almost every film by Jackie Bhagnani’s production house. After proving his talent with films like Ek Villain and the Housefull series, he should be careful in selecting films and avoid adding his name to just any project that comes his way. For a movie relying on its humour, most of the jokes in Welcome to New York are lame and simply unfunny. The movie tries to create a joke with a track from Karan Arjun, yet it feels too forced and inorganic. Even the soundtrack of the movie, which is centred on entertainment, fails to entertain, with Rahat Fateh Ali Khan’s song coming close but ultimately failing due to its less than praise-worthy lyrics. On the whole, Welcome To New York seems less like a Bollywood film and more like an extended PR campaign for the next IIFA Awards. A few scenes have their charms, but unfortunately, they are not enough to make the entire film bearable. The film is strongly reminiscent of Happy New Year, which was another disaster with a potentially great cast. Welcome To New York has nothing to offer, and to top it all off, for some unknown reason, this bland non-entertainer was made as a 3D film. The 3D effects only serve to remind the audience more thoroughly of how terrible the film truly is. Though they promoted the film as India’s first 3D comedy, perhaps the filmmakers wanted to make this film memorable by making it India’s first 3D disaster. All photos: Screenshots

The much-awaited trailer of Dhadak, starring Janhvi Kapoor and Ishaan Khatter dropped on the Internet a few days ago, and gathered responses and reactions from people that reached a feverish and vehement pitch instantly. Dhadak, much to the disbelief and disappointment of people, could not strike a positive note and received cruel social media grilling and flak. https://www.youtube.com/watch?v=TIE92mUvSsw Dhadak is an adaptation of the critically and universally acclaimed, hard-hitting Marathi blockbuster Sairat. The movie revolved around the deep and unconditional yet forbidden and doomed love story of two youngsters from different classes of society – Archana (Archie), the indulged daughter of an influential political kingpin, and Prashant (Prashya), the son of a fisherman. Sairat became a phenomenal sleeper hit and rewrote the box office history of the celluloid by becoming the first Marathi film to enter the coveted 100 crore club. https://www.youtube.com/watch?v=wMrMKnoYWwA Fans trolled Dhadak because they felt that the charm and vibe of the original film was missing and the idea of underlying politics and caste system was completely diluted in an attempt to relocate the plot to a much larger-than-life grandiose milieu. As a result, the virtual universe of social media has been flooded with memes and sarcastic one-liners and jokes since then. https://twitter.com/dennymades/status/1013685530989559808 A realistic movie like Sairat that was made on a shoe-string budget with no star-studded cast has been reinvented by Karan Johar, the king of glitz and glam. The classic Dharma style of making flamboyant films is clearly at odds with the simplistic allure of Sairat. Johar said at the trailer launch,

“When you adapt a film from a brilliant source material, you always know that no matter what you do and try, there will be comparisons. But all you can do is pay homage to that film.”

But it seems that Dhadak could not even retain the soul of its inspiration. https://twitter.com/Ojasism/status/1010622214503268352 As opposed to Sairat that underlined the ruthless reality of caste atrocities, violence, prejudice and honour killings, Dhadak is ostentatiously a romanticised, fancied and glamorised version of the Romeo and Juliet saga (with a Bollywood twist) that has not merely trivialised but diminished the most significant theme of the original courageous film. Dhadak runs more on the clichéd ridden subject of economic barrier, the rich girl-poor boy love story, and has given a rise to the allegation that Bollywood adaptations of the regional films are sheer parodies of the original ones. https://twitter.com/IyerAvin/status/1006189529777111042 Sairat was certainly a hybrid of conventional and commercial Bollywood narrative and the art-house narrative, both sweeping with love and caste as constant undercurrents. On a small budget, Nagraj Manjule not only depicted the realistic picture of the brutalities and cruelties of caste apartheid successfully but he also challenged the gender stereotypes by going in a role-reversal where it was the female actor leading all the action scenes. https://twitter.com/Ish__fish/status/1011897035283312640 The acting of the lead actors, Rinku Rajguru and Akash Thosar, was naturalistic as they were immensely plausible as Archie and Prashya in Sairat. They brought an utter, raw realism to their characters, wore their characters’ skin like their own and received priceless plaudits nationally and universally for their truthful and honest display and portrayal of the doomed lovers. https://twitter.com/Butiwantpasta/status/1007528173557313536 But Johar, “flag bearer of nepotism” as he is rightly called, recreated Sairat as a launch vehicle for Sridevi Boney Kapoor’s daughter Janhvi and Shahid Kapoor’s half-brother Khatter. https://twitter.com/missfitcomics/status/1011891566032687104 https://twitter.com/mrdagajee/status/1011961975188832256 After release of the trailer Janhvi and Khatter have been heavily criticised as according to fans they could not do justice to their roles, despite going through countless acting workshops and tutorials and growing up in a richly embedded environment of experienced and endowed artists. Director Mohit Suri in relation to his opinions on adaptations once said,

“The essence of the film and its narrative need to remain the same, no matter where you are adapting it from. If these elements are in place, then the rest too, falls into place,”

But Dhadak’s trailer, thanks to its overt extravagance, unrealism, poor and amateur acting skills of the lead actors, English version of Kaise Batayen song and flippancy of dialogues like “puppy matlab kutte ka chhota bachcha” (puppy means a dog’s child) could not appeal to cinema enthusiasts. The film has been roasted severely since as it seemingly lacks the rawness, simplicity, earthen humour, innocence, charm, magic and proximate, native and relatable screenplay of the Manjule directorial. The latest released song, Zingaat taken from Sairat could not even enthral the people the way the Marathi, Zingaat did, the one that has since become the must and most played song in weddings and discos. https://www.youtube.com/watch?v=Rd9wF5fAnVw https://www.youtube.com/watch?v=2gcsgfzqN8k https://twitter.com/blithesoul_/status/1011911326397009920 Although Dhadak seems to be the unmaking of Sairat’s cinematic opulence from its trailer, the picture is yet to be seen. As the Dhadak actress, Janhvi said,

“I hope they [people who did not like the trailer] change their mind after watching the film…”

One can only hope that this is the case.

Spending time with kids and adults with autism covers most of my time, and it is the best part of my day. Being a therapist, it shouldn’t be my motivation to look forward to spiritual or emotional gain from the people in treatment – it’s alright if this happens naturally. Those who work around people with autism know how a person’s rigidity and conventional thinking can be challenged by them, and the same happened to me. I had to push my boundaries and set conventional thinking aside for a while, leading to a journey of immense inner growth. Our pop culture is full of references for autism. Netflix’s Atypical, ABC’s The Good Doctor, Dustin Hoffman’s Rain Man, Karan Johar’s My Name Is Khan, and Mark Haddon’s incredible novella, The Curious Incident of the Dog in the Night-Time are a few of many popular references. And yet there is little information and much taboo that surrounds autism. I remember the brother of a friend of mine who had high-functioning autism but could not grab a foreign fellowship favouring people with autism, just because his family did not want him to admit his condition to the panel. I have also come across a highly literate person who blatantly dismissed their relative’s condition as just another case of black magic, saying,

“We would rather focus on giving him treatment from spiritual masters than a therapist.”

Luckily, the spiritual master was sane and authentic enough to refer the individual back to the therapist, saying his condition could only be managed by an expert in the field. Autism isn’t an affliction or a disorder; it’s a neurodiverse developmental condition which results in non-traditional thinking and behaviour. For some people, it is often accompanied with intellectual deficiencies, resulting in a below average IQ. This further affects their behaviour and learning. Initially, it is very difficult for parents to fully accept, understand and embrace their unusual child with autism. While teaching at a school a few years ago, I met a family in which both children were diagnosed with autism. The diagnosis of the second child came five years after the first. The family had formed high hopes with the second child, and had come to terms with the condition of the eldest, thinking the other one would live a normal life and excel at all things. It was difficult for them to accept the reality; so much so that they were on the verge of suing the school’s therapist who gave the diagnosis. It has been heartbreaking for every parent I have met to see their child meet the different set of challenges associated with autism: sensory processing difficulties, problems with socialisation, emotional meltdowns, hyperactivity and inattention, and delayed developmental milestones. However, I have learnt great lessons from kids with autism, and these aforementioned difficulties have never stood in the way. I remember one particular incident with a non-verbal child with autism. During one of the sessions, I handed him a toy, not noticing it was slightly broken. He tirelessly tried pieces of every other toy in the room, and this effort looked out of place and irrational to me. I couldn’t understand the need to go through all this effort to fix a slight flaw. However, he did not spare any effort until he amazed me by fixing the toy in the most creative way possible. This child taught me to try every possible approach towards a problem, even if the process seems futile and exhausting. After all, each and every ‘useless’ effort can bring us closer to the actual solution or goal. There was another child I once counselled. He could not rephrase his conversations and was unable to give his own interpretations of discourses. Additionally, he could not generate content on his own, so all he did was quote other people and this was the only mode of communication he knew. If I’d ask him about a particularly bad day, he wouldn’t go on rationalising or offer me his own interpretations of the event. Instead, all he was capable of was directly quoting any other person who had felt disappointed in him for some reason. His limitations and novel mode of communication taught me that people can communicate in ways that are very different to ours, and that they should not be ridiculed, bullied, judged, dismissed or misunderstood for that. My final lesson comes from a kid who reminded me of Francis Ford Coppola’s The Godfather. In The Godfather, the incredible power, fear and authority Vito Corleone exudes stays out of the house. In his house, for his family, he is just your average husband and father. There is humility in accepting the world as our kin, and not making one’s own uniqueness a hurdle in accepting others. The child who taught me this had an IQ falling into a range we can identify as brilliant. He was the smartest at school, and yet he maintained his own uniqueness while remaining unbiased about others who were unlike him. He did not judge them; rather, he explored reasons for the differences. He always said that being unique is not a big deal, and his uniqueness never became a tool for seeming superior to others. The honesty and simplicity of these experiences inspired me to change my ways, while the tales of their parents’ acceptance showed me that unconditional love exists. It always took a toll on parents, and I cannot forget many of them who put their personal lives and careers on stake just to be more available and attentive to their children with special needs. I have nothing but immense gratitude for being in a place and position from where I can see the incredible bravery, honesty and loyalty that these children are filled with, and luckily enough, learn from them as well. Note: All the incidents expressed in this article happened two years ago. Experiences of children currently undergoing treatment have not been included due to ethical considerations and confidentiality.

Loosely based on the Telugu film Temper, the cop action saga Simmba is directed by Rohit Shetty, produced by Dharma Productions and Rohit Shetty Picturez, and stars an ensemble cast of Ranveer Singh, Sonu Sood and Sara Ali Khan. https://www.youtube.com/watch?v=PtFY3WHztZc The film is about Sangram ‘Simmba’ Bhalerao, a poor orphan who aspires to become an unscrupulous police inspector. As an officer of the law, he unapologetically indulges in corrupt practices to have his pockets lined, as he believes that corruption and dishonesty are indispensable to live a perfect life. The film starts on a comic note and is mostly about fun, tricks and games, until it takes a serious turn when Aakruti, a girl Simmba treats like a sister, gets raped and killed. The latter half of the film emerges as a revenge drama where the focus is on getting justice for the victim, revenge from the fallen, and good triumphing over the forces of evil. Singh undoubtedly makes Simmba a one man show and delivers a power-packed performance. Although the film is a typical Shetty potboiler with all the elements witnessed before, Singh manages to add a unique touch. His versatility is such that he not only engrosses the audience with his catchphrases and comic timing, but also with his emotional moments of conscientious transformation. He portrays the bad and good side of Simmba with the utmost brilliance and exudes the entire blend of humour, conviction, fierceness and heroism with consummate effortlessness. Khan plays Simmba’s love interest in the film, and looks radiant and beautiful in her brief role. Ironically, her character is marginalised in a film that capitalises on a social issue concerning women, where rape is used as a trigger for the male protagonist and the female lead is simply there for the glamour quotient. Sood, on the other hand, is top notch as a local don in a negative avatar. He delivers a compelling performance and stands tall as the perfect antagonist, despite Singh’s strong presence. Ashutosh Rana and Siddharth Jadhav also deserve a special mention for playing their roles with incredible integrity. An out-and-out action-packed flick, Simmba portrays a larger than life world with Shetty’s tried and tested age-old masala-coated formula as the foundation. The colourful visuals, lavish sets, high octane action sequences, wide shots and the sheer size of the film alone is enough to captivate cinemagoers. The cinematography is thrilling, as are the whistle-worthy dialogues by Farhad Samji and Sajid Samji that make the first half of the film in particular a hilarious riot. The at-times melodramatic background score keeps up with the pace of the action, while the catchy and popular songs, in particular the dance-inducing Aankh Marey, keep the audience hooked. https://www.youtube.com/watch?v=_KhQT-LGb-4 The film belongs to the rape and revenge genre, and yet the required nuance and sensitivity is clearly missing. It is evident that the rape of a woman and the overall concept of honour are used as a mere catalyst for a possible moral flip of the protagonist, rather than as a proper theme to actually advance the plot forward and address the issue, given its particular relevance in Indian society. The predictability of the film can be sensed throughout, as the narrative is not unexpected and there is hardly any room for suspense or surprise. It does not have anything unique or crisp, as the plot is a recycled version of previous Bollywood and Shetty films and follows the typical done-that, seen-that template. However, the commercial and mainstream bells and whistles, a socially-relevant subject (albeit underdeveloped and unexplored) and Singh capitulating to the image of a true blue Bollywood hero, all result in Simmba being a masala entertainer that is sure to amuse the masses. All photos: Screenshots

Karan Johar is the king of love triangles; perhaps even ‘love squares’ at times. After all, most of the movies he has directed, including Kuch Kuch Hota Hai and Student of the Year, have the same elements at play and this formula seems to work for Johar. However, it seems too much to expect his movies to also make sense, as very rarely do they possess an actual plot that doesn’t include a Rahul falling in love with an Anjali. Ae Dil Hai Mushkil, his most recent directorial success, became known for many things but unfortunately, its story wasn’t one of them. Sure, it had memorable songs that you still lie awake listening to (Channa Mereya, anyone?) and you remain mesmerised by how beautiful Anushka Sharma, Aishwarya Rai Bachchan, and especially Fawad Khan looked. But the movie’s plot was pretty mainstream, and quite frankly, disturbing. Ranbir Kapoor’s Ayan meets Sharma’s Alizeh and eventually falls in love with her. However, Alizeh never reciprocates his feelings and only sees him for the friend that he is to her, refusing his advances throughout the movie until she literally dies. That’s it. That’s the whole movie. The movie exists to act as a shoulder to cry on for men who find themselves in the infamous ‘friend zone’. The entire film is pretty much Ayan going after Alizeh, pursuing her despite repeatedly being told an explicit no. He sings a song expressing his love to her while attending her wedding as a guest, and tries his luck yet again as she is dealing with her cancer diagnosis. Clearly, the protagonist here doesn’t realise that ‘no means no’, and that being nice to a woman who is your friend does not mean the woman owes you anything in exchange. Did Johar really expect us to side with a man-child who did not understand what consent is and what platonic relationships entail? Fast forward a couple of years after the movie’s release, we thought we had erased the horrors from our mind completely, until a recent interview of Johar brought it all back. The director/writer claimed he killed off Alizeh as a form of karma because she did not love Ayan back, who had loved her so much throughout and deserved his romantic feelings to be reciprocated. Johar stated,

“Yes, the last track met with many polarised responses and rightfully so, but I was like she didn’t love him, she has to die. I wrote this character. He loved her so crazily. She could’ve loved him back, why couldn’t she? So she got cancer and she died.”

https://twitter.com/SoKneeOh/status/1088356337757507584 To be honest, the ending was perhaps the worst part of the disaster that was this movie. It made no sense to kill Alizeh off like that; in fact, an abrupt ending would have made far more sense. You could have put Baby Shark instead of the ending and it would still make a more interesting and satisfying conclusion to whatever the audience spent almost three hours watching. Taking it a step further, Johar explains how the death was appropriate because according to him, if you are inexpressive, you can develop a tumour. Apparently, your personal dynamics and keeping all your emotions bottled up inside can cause blockages in your heart. Meanwhile, scientists all over the world are burning their degrees as we speak. https://twitter.com/UTariq09/status/1088498810953891841 Jokes aside, Johar’s reasoning behind his decision to kill Alizeh hints at something far more sinister. He seems to be under the impression that unrequited love must be punished, and the suggestion that Alizeh deserved to actually die a painful death if she could not love Ayan back is yet another instance of men being encouraged to react negatively if their feelings are not returned with enthusiasm. https://twitter.com/themadrasponnu/status/1088880215051268096 How dare Alizeh deprive her friend from getting into her pants (even when she is suffering from cancer and is nearing the end of her life) when he was so nice to her and loved her throughout? The disgusting and ignorant mentality displayed here, and that too by a man in Johar’s position – one of the most influential filmmakers of his generation – is disconcerting and reveals a lot about why women find themselves in the state we are in. It would have been better if Johar had simply stated he killed Alizeh off for the drama or the surprise quotient, instead of letting us know that even a fictional woman in a bad movie had to suffer in life and death as a form of punishment for not loving the male protagonist back. https://twitter.com/Saisailu97/status/1088484791983489025 In the real world we all live in, we see regular instances of what men in our society are capable of when they don’t get what they want. Women are beaten, raped, attacked with acid, and even murdered for the simple act of saying ‘no’ to marriage proposals. In the midst of a worsening climate, why would you add fuel to a conflagration? But then again, Johar is already so far up on the ladder of privilege, it does seem unrealistic to expect some thought and nuance from a male director evidently unwilling to recognise the reality women live with. However, what makes this ironic, and frankly hypocritical, is that Johar has openly declared himself a feminist. He claims to have been raised by women, which is why feminism comes naturally to him, and has also publicly spoken out against item songs and the objectification of women. Yet here he is, writing female characters only to fulfil male desires and then killing them off when those fantasies are not met. Is his ‘feminism’ just a ‘fad’ for point-scoring? Is Johar yet another celebrity who tries to be politically correct but does not fully comprehend what feminism and supporting women actually entail? After all, the recent controversy that took place during his show alongside cricketers Hardik Pandya and KL Rahul is proof that Johar’s words are wind while his actions are damning and reveal where his allegiances truly lie. https://twitter.com/nosheenali/status/1088776424792698885 On another note, Johar could have killed off Kapoor in the start so we wouldn’t have to go through the torture of watching him mope around in the ‘friend zone’. Or put Khan on the cinema screen for three straight hours, for literally no one would complain. Also, in what world can we believe that after witnessing the angelic beauty possessed by Ali (Khan), Ayan honestly thought he still had a chance? What Johar has said may seem harmless, but hints at the sexism and misogyny entrenched in an industry where male writers and directors are responsible for writing female characters that millions then watch and learn from. Not to mention that an adult man taking his own failed romantic history out on a fictional female character as an act of vengeance seems quite petty and alarming when one remembers how successful Johar is in the industry. In the books of history, Ae Dil Hai Mushkil should definitely be ranked Johar’s worst movie ever, particularly after this added context we have been provided with. However, anyone who has seen the abomination that was Kabhi Alvida Naa Kehna will certainly find it in themselves to disagree.

The much awaited multi-starrer Kalank releases today, to the joy of cinemagoers. The film seemingly narrates the story of a deep and devastated love, with the pre-Partition era serving as the backdrop. The magnum opus has been directed and produced by Abhishek Varman and Karan Johar, and stars an ensemble cast of Varun Dhawan, Alia Bhatt, Sanjay Dutt, Madhuri Dixit, Aditya Roy Kapoor and Sonakshi Sinha. The trailer mirrors the intertwined but tangled relationships between our cast as Roop (Bhatt) is married off to Dev Chaudhry (Kapoor). Dev, however, already has a wife, Satya (Sinha), whom he loves immensely. He even tells Roop that she can only get respect and not love out of their union. Roop soon realises she has nothing to lose and falls for Zafar (Dhawan), who is a Muslim. Besides this, Dixit plays the role of a dancer, while Dutt is shown as an enraged man who warns Zafar to stay away from Roop. The two-minute long trailer is enough to unravel the complexity of all the characters and challenges that await them, with the main narrative being rooted deeply in a tale of a profound and unrequited love. Further, the film heavily projects themes of extra-marital relationships, interfaith love, communal tension, honour versus stigma and love versus duty. Hence, the trailer makes it clear the film will effectively immerse viewers into its world and stun them with its enchanting visuals, grandiosity, ornate costumes, picturesque locations, incredibly choreographed dance numbers and action scenes, lilting background music, notable dialogues as well as some promising performances. Considering the opulence and splendour of this project, the film seems to tread into the terrain of Sanjay Leela Bhansali’s cinematic extravagance. Additionally, the film not only gives the vibes of a Baahubali-stylised world, but also derives inspiration from the iconic film, Dilwale Dulhania Le Jayenge. Another highlight is that Kalank unites the popular couple of the 90s, Dutt and Dixit, on screen after almost two decades, even though not much of them is seen in the trailer. This grand tale of forbidden love, wavering faithfulness and betrayal, all amid the background of communal tension and violence, emits some intense emotions. It is clear this will be a melodrama, with the audience sure to experience strong feelings not just for the characters but for the rich yet violent history of the subcontinent. Kalank looks amazing, and has definitely infused the right sense of curiosity, excitement and fascination in viewers. The film has all the potential to triumph at the box office and make history in the process, as it has all the trappings of a visual delight and will be remembered as an appealing entertainer if it lives up to the expectations of the audience. Kalank releases in theatres today, April 17, 2019. All photos: IMDb

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.

Filmmaker Karan Johar is making his directorial comeback with a Ranveer Singh and Alia Bhatt-starrer titled Rocky Aur Rani Ki Prem Kahani. Karan made the big announcement on his social media handles on Ranveer’s birthday, making it even more special. Calling Ranveer and Alia his favourite people, Karan said that he is thrilled to be behind the lens once again. The upcoming love story starring the duo has been written by Ishita Moitra, Shashank Khaitan and Sumit Roy. And it is slated to release in 2022. Sharing a video on his Twitter and Insta, Karan wrote, "[I am] thrilled to be behind the lens with my favourite people in front of it! Presenting Rocky Aur Rani Ki Prem Kahani, headlined by none other than Ranveer Singh and Alia Bhatt and written by Ishita Moitra, Shashank Khaitan and Sumit Roy. This anokhi kahani (unique tale) is coming to your screens in 2022," he wrote. View this post on Instagram A post shared by Karan Johar (@karanjohar) Alia and Ranveer shared the same video on their social media accounts, introducing the film. According to reports gathered by the Free Press Journal, Karan plans to take the film on floors in September this year. The producer had last donned the director's hat in 2016 for Ranbir Kapoor, Anushka Sharma and Fawad Khan's film Ae Dil Hai Mushkil. Ranveer and Alia, on the other hand, last shared the screen together in Gully Boy. Prior to this announcement, Karan left everyone excited on Monday without spilling the beans about his new project. Dharma Productions took to Twitter and wrote, "HE is back! After five long years, @karanjohar is returning to the director’s chair. It's time for some eternal love stories, ensemble casts and unforgettable tunes with his larger-than-life lens! Are you ready to feel those wholesome magical feelings, again?" Have something to add to the story? Share it in the comments below.

Bollywood filmmaker Karan Johar shared that his “passion project” period drama Takht has not been shelved, explaining that the project was only facing some delays. Calling it a “piece of his heart” and comparing it to the 2001 superhit film Kabhi Khushi Kabhi Gham, Johar told Film Companion that he will be taking up the project eventually. The filmmaker elaborated, “No, I am going to make that movie right after Rocky Aur Rani. I can't let that get away. That film is a piece of my heart. It’s got two and a half years of my prep work on it. We were rearing to go. I still remember we were starting on April 24 when the pandemic hit us in March. The film was so vast, voluminous and on a large scale, that on a daily basis, it needed a thousand people on set. It was that kind of film.” Shedding further light on the period drama, Johar added, “It was an epic, period film based on the Mughal era. That again is a family film. It’s based in that era, but it is about the interrelationships of that era, those people and those people that existed in the real world. I will always say, Rocky Aur Rani is my excitement project, but Takht is my passion project. And you cannot run away from your passion. So right after I’m done with my excitement, I’ll head towards my passion." The film features a star-studded ensemble cast comprising Ranveer Singh, Kareena Kapoor Khan, Alia Bhatt, Janhvi Kapoor, Anil Kapoor, Bhumi Pednekar and Vicky Kaushal. And considering Johar will be directing the project, we can safely assume Takht will be grand, to say the least. Many are saying the film will be like Sanjay Leela Bhansali's epic dramas (Bajirao Mastani, Padmaavat) but with a KJo twist. In a 2018 interview with celebrated Indian journalist Anupama Chopra, Johar spilled the beans on what fans can expect from his first-ever period film. "It’s based in the Mughal era. It’s history. It’s about two warring brothers and is based on facts as we know them. Beyond that, it’s too early to say anything," said the director, promising to make Takht his most ambitious project till date. "Opulence-wise and scale-wise, it’s my biggest to date. It’s scary and nerve-wracking. I’m scared every minute of the day," he continued. "It’s like the K3G of the Mughal era. But it’s more extreme, there is more betrayal. It has the tropes of court politics. It’s so rich in texture that I’m really petrified. And it’s not just the scale. It’s also the relationship dynamics.” “It’s an unusual mix of talent. They are actors who have walked the parallel path, we have the superstar dynamic with Kareena, there’s Anil who I have never directed before," Johar said of the cast. "But each actor fits the part to the tee. It’s not that I have gone to them because I have access. It’s a strange dichotomy. Each one has never played a part like this and yet each one fit it perfectly."

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