The Express Tribune

I miss Shah Rukh Khan (SRK) the actor’. ‘SRK the star’ has overshadowed SRK the actor for quite some time now. Let me explain. SRK the actor is the one we saw in Chak de India and Dil se. SRK the star is the one we saw in Kabhi Alvida Na Kehna and Om Shanti Om. I like the former but I have serious issues with the latter. I haven’t seen any SRK film since My Name Is Khan. I chose not to watch Ra One, Don 2, Rab Ne Bana Di Jodi etcetera, as quite clearly they did not belong to SRK the actor. The day I saw the first promo of Jab Tak Hai Jaan (JTHJ), I became excited on the prospect of seeing the actor again. Add to it the combination of AR Rehman and Gulzar saab in the music department and Yash Chopra at the helm of the affairs and rest assured something special should have been in the making. Meanwhile, Yash Chopra passed away and it became impossible for me to not watch it. Unfortunately, I regretted it. If I takeout SRK’s acting during the second half and the dance off in the first half before the Ishq Shawa song, JTHJ turned out to be a colossal disappointment. Had it been some other team behind the creation of JTHJ, I would have walked out of the film at the half time. In JTHJ, we have problems. Problem #1: The story or the lack of it, or too much of it. Be it the distant inspiration from the classic Eternal Sunshine of the Spotless Mind or almost all the love stories you would have seen in the past, there is no real story in JTHJ; instead there is a strange mix of too many stories here. At least two of them could make full movies on their own. Even if we ignore (which I could not) the fact that Anupam Kher is shown as a 50-year-old man in the film while SRK for a good 50% of the film is 25 and Katrina Kaif 21, there is a lot that went wrong with the script and extremely scattered screenplay did not help either. Problem #2: The lack of ingenuity and newness. Katrina Kaif is a Non Resident Indian (NRI) with accented Hindi for umpteenth time: cue Namaste London, New York, Singh is King, Mere Brother Ki Dulhan. Anushka Sharma is a bubbly, read: annoying, Delhi girl yet again: cue Band Baaja Baraat, Badmaash Company, Ladies vs. Ricky Bahl. SRK is singing on the streets like a carefree teenager or quivering his lips in emotional scenes which he did a decade back in almost all his early movies. Then comes the done-and-dusted premise of rich girl falling in love with a poor boy because of his pure heart followed by the most ridiculous reason for a breakup. Problem #3: More than a hundred minutes of loopholes in the story and treatment. Going into the details of this problem will require three pages of hard to digest words. Spoiler alert: giving the title of ‘the man who cannot die’ to a 38-year-old who is technically not of dying age yet, a soldier saving a drowning girl who later announces that she had been a swimming champion, an afro looking Lahori Pakistani guy who is later declared a Pathan and so on totally ruins all your concepts of ethnicity and geography. A journalist wearing skimpy shorts and moving around freely with army officers in a war torn area where more than a hundred bombs have been found and diffused, a Punjabi Hindu girl going to church for praying every Sunday to ‘Sir Jesus’… yes Sir Jesus etcetera. If you survived all this wait till you get to the London metro bomb disposal scene. Enough said. Problem #4: Anushka Sharma and Katrina Kaif. Just when you thought Kat had spent enough time in the industry to learn acting, she gives a performance that can make you forget her first few films. Here is Katrina Kaif for you, enjoying a success rate which even Madhuri and Kajol didn’t, delivering the most wooden performance you’d ever see. On the other hand, there is Anushka Sharma who needs to realise that the Band Baaja Barat is over and the movies she is signing now are different and need versatility. SRK has tried hard. It would be unfair to say that he has not. The first half where he has to play a 25-year-old Samar did not leave much for him in the acting department. Even if he does his best, he cannot look like a 25-year-old anymore and jumping on the bridge in excitement after falling in love does not suit him anymore. His portrayal of the soldier Samar is much more graceful. He underplays his part, speaks less and speaks convincingly. His brief period where he is suffering from retrograde amnesia is the strongest point of the film, but brief periods do not save a 177 minute long film from being a disaster. If you are a die-hard SRK fan, which is a huge part of Indo-Pak population, you should look forward to these sequences. Performances of other actors including Sarika, Anupam Kher, Rishi Kapoor and Neetu Singh are not worth mentioning. The actors playing SRK’s army staff are better than the seniors. Veteran Anil Mehta’s tried and tested cinematography is excellent and is one of the major reasons why I stayed till the end. While the background music is good, the film’s soundtrack leaves a lot to be desired. Some would still argue that it’s a romantic movie and that it was made for entertainment, and that one should give creative liberty to certain things. I have only one problem with that argument. I did not go to watch a south Indian remake or an Akshay Kumar/Salman Khan no brainer. I went to watch the last work of Yash Chopra; the man who created Deewar, Kabhi Kabhi, Silsila, Mashaal and my personal favourite Lamhe. He was a true genius and he most certainly did not deserve a farewell like this. Even though he did a fairly good job with the script, it was his son’s story that left him with almost nothing. Yash Chopra will be missed but on a personal front, I would prefer forgetting his last film. Even if JTHJ was a montage of all of Yash Chopra’s previous films, it would still be a blockbuster so the result of the film was predicted anyways. You may still watch it; if for nothing else then for the eye candy and the tribute montage for stalwart director at the end which was probably the best thing about the 180 minutes spent in the theatre. PHOTOS: PUBLICITY Read more by Sami here or follow him on Twitter @SamiSaayer

Talaash, as the name suggests, is a film in which people are looking for answers. It has some obvious searches like why did the car end up in water? Who is the killer? And then there are the subtly and beautifully embedded intrinsic quests of a father in search of reconciliation with himself, not really by self-flagellation but by being silent. Or a wife in search of her husband whom she lost to a tragic accident in their lives. I am disappointed in myself, because it took me over an hour to realise where I had seen Talaash before. I hadn’t seen it before, I had read it. Talaash is very heavily inspired by, one of my all-time favourite books called, ‘The Fallen’ by T Jefferson Parker. I am disappointed because it took me that long to visualise scenes from my favourite book. On my Twitter query to her, director of Talaash, Reema Kagti has denied having read the book which effectively means it’s a mere coincidence, albeit a huge one that almost two thirds of the story and some scenes are a straight lift from the aforementioned book. Nonetheless, while I am in talaash of this answer, there is nothing wrong even if it is heavily inspired from the book. Talaash is an almost epic mastery of storytelling. Almost because in the end it leaves you with your mouth open and mind confused about whether to love the climax or not. It leaves you questioning your beliefs. If you can believe the twist in the climax, then you will leave the theatre thinking that you have seen one of the best films ever. If not, like I did not, then you will struggle to consider Talaash an all-time great, instead, it will become an almost classic for you too. If you put the belief factor aside, you will realise that throughout the film there were cues for you to understand what was happening, but you did not because you were involved in the side tracks too much. Director Reema Kagti has shown tremendous aptitude of the grip on screenplay and visual treatment. Giving Talaash after Honey Moon Travels shows the versatility in her ability. She commands your attention throughout the movie and your eyes are like magnets to the screen. The attention to detail and sensitive treatment are the pillars Talaash is standing on. Rani’s look is ruffled - her eyes have dark circles and her face is freckled because she doesn’t have time to focus on her physical appearance. Aamir is playing his age - something a certain other Khan needs to learn from. He is a cop of high repute but there is no over the top praising by his team members like the entry of SRK in Jab Tak Hai Jaan. Instead there is a simple ‘bohot suna hai sir aapke baaray mein, maza aaye ga aap ke saath kaam kar ke’ (I have heard a lot about you, sir; it will be fun working with you) which is enough to establish his work ethic. On the downside, Kareena Kapoor looks too classy to be a low end prostitute. A downgraded look, if not a different actress, would have really helped. If we act overly critical, we can also question the honesty of genuine interest of the entire police force to solve a high profile case, which isn’t generally a reality. Talaash demands big efforts from the cast and they deliver. It’s great to see a vintage Rani Mukherjee performance. A perfect reminder of why she was a Film Fare worthy actress not long ago. Even though, far away from a glamorous look, she comes off as strangely hot in her sari clad housewife look. Charming indeed and much needed after a disastrous Aiyya. Her confrontation scene with Aamir on the road is really good and her helplessness in front of her psychiatrist is expressed beautifully. Nawazuddin Siddiqui is having the best year of his life. With Kahaani, Gangs of Wasseypur and now Talaash, looks like his struggling days are over. His portrayal of Taimur is nothing short of brilliant. This is one actor I would want to see more and more in every film. Kareena Kapoor is good, minus the unfitting perfect Hindi accent unlike other prostitutes shown in the film. Even if we ignore that, it still cannot be called a Kareena film as her other performances are far stronger. Raj Kumar Yadav is also impressive once again. I am now eagerly waiting for his ‘Shahid’. Subrat Dutta is a star too, even though in a much smaller role. Having said as much, the film belongs to Aamir Khan and why wouldn’t it? This is his second venture with Excel Entertainment after the era defining Dil Chahta Hai and he has delivered another masterpiece for them. The perfectionist that he is, Khan has given one of his best performances to date. His self-inflicted pain is obvious on his face. His eyes communicate his tiredness, his face communicates his regret. The best scene of the film, in which he is reliving the tragedy of his life and how he could have changed the whole event, is one of the best ever created on cinema. When he was happy to see his wife enjoying a senseless movie, the audience felt his relief. When he cried, people on either side of me in the theatre cried; definitely the best performance of the year. Even better than Paan Singh Tomar and Gangs of Wasseypur. If you plan on watching Talaash, make sure you don’t miss any part of it. Every minute is important. Don’t text, don’t tweet and don’t take toilet breaks. Talaash is no joke; its serious business! PHOTOS: PUBLICITY Read more by Sami here, or follow him on Twitter @SamiSaayer

In the ‘90s when Yusuf Khan received the Nishan-e-Imtiaz— the highest civilian award of Pakistan— right wing Hindu groups led by Shiv Sena and covertly supported by its ideological brothers, protested and vehemently questioned Khan’s loyalty to India. He was declared a Pakistani agent not a pride of the nation who has won laurels for his works all over the world. There were many in India at that time who did not know that Yusuf Khan is actually Dilip Kumar, the popular superstar of the Bombay film industry. India and the world accepted him and lauded him for his acting prowess. Nobody cared about his name. But there were certain sections in the Indian society which were not comfortable with his Islamic identity and they always recognised and identified him with that religious tag. Despite all the success and the stardom that the thespian achieved in his long artistic career his Islamic name remained a stigma for him in the eyes of the majoritarian right. A section always considered him a suspect. In 2013, superstar Shahrukh Khan wrote:

“I encounter this tightening of definition every time moderation is required to be publicly expressed by the Muslim community in my country. Whenever there is an act of violence in the name of Islam, I am called upon to air my views on it and dispel the notion that by virtue of being a Muslim, I condone such senseless brutality. I am one of the voices chosen to represent my community in order to prevent other communities from reacting to all of us as if we were somehow colluding with or responsible for the crimes committed in the name of a religion that we experience entirely differently from the perpetrators of these crimes.” — there is something wrong in the state of India.

This is the voice of a man whose popularity bypasses all caste, community, religion and nationalism. However, he seems to have failed to transcend the boundary of identity or put it differently, he remains a prisoner of Islamic identity despite all his attempts to liberate himself from other’s prejudices. The Hindu fanatic narrative keeps him caged in their old world view, which see Muslims as others. More than six decades into India’s secular and constitutional democracy the old fault line still exists. The Hindu right has been at work from the beginning to accentuate that divide. In the post 9/11 world this divide becomes all the more pronounced despite constant attempts to bridge that gap and develop a dialogue of understanding. The problem is not with the larger minority and their ways of life, the issue is with the majoritarian project and their worldview. The Hindu right and major sections of the majority community define themselves in terms of political boundary. They forget the inalienable civilisational and cultural links between people all over South Asia. Our media, the government and the radical rights perpetuate this narrow definition of identity. This obstructs the emergence of a robust South Asian community which transcends political boundary. Therefore the problem is not with Dilip Kumar or Shahrukh Khan and their religious identity- the problem is with our own parochial understanding of our own history and culture. Many politicians and political groups in India define their destiny through this narrowness. The Hindu right, Bharatiya Janata Party or BJP’s whole locus standi is based on their anti Islamic and anti minority philosophy. Shiv Sena derives its political legitimacy by accentuating the fault lines. Some of the Muslim organisations also fall prey to this project. The fear of Muslims in India is all the more pronounced when the system becomes prejudiced. This has happened time and again. The most recent is the police firing on Muslim crowds in Dhule, a district in Maharashtra. The local administration sided with the fanatic Hindu groups and killed some of the members of the minority community. The incident happened in a state which is ruled by a Congress led secular government. The classic example of persecution of Muslim minority is the 2002 riots in Gujarat in which, as the various reports suggest, Narendra Modi led BJP government colluded with the rioters and killed close to 2000 people and destroyed many families forever. No justice has been done to the victims in the last one decade and the whole minority community in the state stands ghettoised. Today Narendra Modi claims himself and the BJP accepts him as the tallest leader in the party. He calls himself a great nationalist. The same Modi who has blood on his hands is positioning himself to be the prime ministerial candidate from his party. Gujarat Chief Minister claims that he has worked hard to improve the GDP of the state and brought the province to the top of the developmental chart in the country. The fact remains that Modi’s name to fame is his acts in 2002 and his projection as the progressive leader is the smokescreen. His nationalism negates Muslim minority. The sad part is that a sizable chunk of much touted and courted middle class India look towards him as the future leader of the country. In this atmosphere when the Hindu right is trying to assert itself in a big way by projecting a highly divisive figure like Narendra Modi. A genuine fear among the largest minority is bound to take place in next year’s elections. Those who adore India and its plurality and multiculturalism are also feeling apprehensive. It’s not about the physical security of an individual, it's about the idea of India. The question that Shahrukh Khan raises transcends his fear— the fear of each and every individual who cares for a secular and inclusive India. Read more by Sanjay here, or follow him on Twitter @destinydefier

Director Rohit Shetty, who delivered hits like Golmaal 3, Singham and Bol Bachchan, brings together Shahrukh Khan and Deepika Padukone’s captivating chemistry once again to the big screen in the form of Chennai Express after the 2007’s reincarnation-romance hit film Om Shanti Om. This light-hearted film is distinctive and has presented completely unusual avatars of Shahrukh and Deepika. To capture the heart of a moviegoer, Shetty successfully mixed all spices in a very balanced manner to present a complete family entertainment film with mindless comedy, drama, action and romance. In the film, 40-year-old Rahul (Shahrukh Khan), a North Indian bachelor and halwai (sweetmeats vendor) who couldn’t get married due to his caring, over-protective and over-domineering grandfather, boards a train called Chennai Express to fulfil the last wish of his grandfather to have his ashes immersed in Rameshwaram. [caption id="" align="alignnone" width="600"] PHOTO: CHENNAI EXPRESS movie Facebook page[/caption] On the journey, he meets a South Indian woman Meenamma (Deepika Padukone), who wants to flee from the clutches of her huge family and Tamil mobster father, who want her to get married to another mobster’s son, just to expand his territory. [caption id="" align="alignnone" width="300"] Deepika Padukone as Meenamma. PHOTO: Chennai Express Facebook page[/caption] The rest is the relentless blending of light comedy, tender romantic moments, drama, heroic action and dance - all in South Indian style. If truth be told, Chennai Express is made in true Rohit Shetty ishtyle. The director has done his job wonderfully. The film moves from one scene to another with seamless pace along with clap-trap and witty dialogue that just kept coming. The scenes are striking and very amusing. The, aesthetic cinematography by Dudley in particular is breathtaking and can compel a nature lover to fall in love with beautiful southern landscapes. The colourful, melodious songs shot in scenic mountains, are rich compositions by duo Visha-Shekhar. ‘Titli’ and ‘Tera Rastaa Choroon na’ are two particularly well written romantic songs in the movie. ‘Kashmir Main Tu Kanyakumari’ is another catchy tune in its almost old-fashioned melody. The film ends with a song tribute to Rajnikanth, the king of South Indian cinema. [caption id="" align="alignnone" width="600"] PHOTO: Chennai Express Facebook page[/caption] [caption id="" align="alignnone" width="600"] A screenshot from the song Lungi Dance. PHOTO: Chennai Express Fan Club Facebook page[/caption] Performance wise, both Shahrukh and Deepika did their job impressively; they are inspirational actors of Bollywood and here once again both performers excel in their characters. Throughout the film, Shahrukh’s performance is a zany and pleasing one. Totally immersed in Rahul’s character, he has delivered his best comic performance with beautiful timing – for instance, when he changes his facial expressions all of a sudden into ‘My name is Rahul and I am not a terrorist’. Similarly, when Meenamma wonders if he is 50-years-old, an insulted Rahul reacts with a genuinely hilarious action. He stands out with his comical acting right till the end of the movie. Deepika Padukone comes up as a complete stunner and driving-force of the film. She provided the accurate momentum with her Tamil accent and colourful saris. Although her accent confuses audiences to some extent, Deepika allured everyone with her performance and compelling chemistry with the co-star. Having said as much, the film is deprived of a persuasive script and has a superfluous comic sense. What I found most annoying was how the Tamil language has been extensively used in dialogues which non-Tamil speaking audiences couldn't even understand as there were no subtitles. This was boring to watch and frustrating at the same time. Yet, the movie does manage to offer the film buffs something to laugh about and that’s the core reason that helped the film to smash all previous records to cross $3.9 million marks. For serious moviegoers, though, it has too many loopholes, but it has something for everyone, which is why the mesmerising Chennai Express has emerged as a big hit of the year. It has proven that the Shahrukh + Rohit + Deepika combo is exceptionally enchanting that can create a new history in Bollywood masala films. So go for a fun-ride on the Chennai Express if you want to just relax a little bit for next three hours!

Farah Khan (the choreographer-turned-director) brings another enterprise titled Happy New Year, with her ever-favourite ‘superstar’ Shahrukh Khan. A brief introduction to Happy New Year is that it’s produced by Shahrukh and Ghauri Khan, is overstuffed with actors and is a tale of revenge. [embed width="620"]http://vimeo.com/103423295[/embed] Charlie (Shahrukh Khan) plans to take vengeance from Charan Grover (Jackie Shroff), because of whom his innocent father (Anupam Kher) was locked behind bars for 12 years. To execute his plan smoothly, Charlie gathers a team of misfits, including a self-declared Parsi stud named Tammy (Boman Irani) who is a specialist at breaking sophisticated locks, a partly deaf, former army bomb squad expert, named Jaggu (Sonu Sood), a hacker named Rohan (Vivaan Shah), a look-alike of Grover’s son, Nandu (Abhishek Bachchan) and a dance trainer named Mohini (Deepika Padukone). The movie is about how they manage to take Charlie’s revenge collectively. [caption id="" align="alignnone" width="450"] Photo: Happy New Year Facebook Official Page[/caption] Plot wise, Happy New Year is a disaster. There are too many loopholes in the storyline. The jokes showcased are close to movies like Sajid Khan’s Himmatwala and Humshakals – substandard and barely comical. For instance, Abhishek puking anywhere and anytime is considered hilarious. Shahrukh and Boman are seen dancing with their behinds thrusting out with weird expressions on their faces, all this in an attempt to be comical. And as a cherry on top, the film is strewn with racial and ethnic jokes – all done in bad taste. Sonu, who has impaired hearing, can’t hear what the baddies say from inches away but can easily hear what Shahrukh tells him from miles away. A lot of scenes in the movie lack all logical sense and these are just a few of the blunders I’ve mentioned. The movie has dozens more. Just like any other Farah Khan movie, Happy New Year is filled with guest appearances of different celebrities. You come across the likes of Dino Morea, Sajid Khan, Malaika Arora, Prabhu Deva and Anurag Kashyap. I’ve never understood the purpose of doing this. [caption id="" align="alignnone" width="600"] Photo: Happy New Year Facebook Official Page[/caption] Also, audiences should know that Happy New Year is not a performance-oriented movie; it is a celebrity-oriented film. Tasteless performances and no good songs to back them up either! Watch it for Shahrukh’s eight-abs, Sonu’s hunk of a body, Deepika’s alluring beauty (minus her acting skills), Boman’s typical Parsi-ish delivery and Abhishek’s over-acting. But don’t expect it to be a good movie. Even with all these flaws, the movie did pretty well at the box office and managed to enter in the INR 100-crore club. Happy New Year collected INR 42.62 crore on Friday (the day it was released), INR 30.42 crore on Saturday and INR 31.06 crore on Sunday; which means the film earned a total of INR 104.10 crore within the first three days of its release. [caption id="" align="alignnone" width="600"] Photo: Happy New Year Facebook Official Page[/caption] What this movie proved, unfortunately, was that even a tasteless, senseless and below-average movie like Happy New Year can enter the INR 100-crore club, if it has Shahrukh Khan in it. I’m not sure it deserved this, but I’ll give it 2/5.

Today is Shah Rukh Khan’s 50th birthday. The man, who is essentially the face of Bollywood, continues to inspire and delight people all over the world. Khan has had a career spanning nearly three decades and has encapsulated billions of people worldwide with his tear-jerkers and childlike antics. He is, no doubt, one of India’s most revered artists and is considered to be amongst the ‘greats’ like Dilip Kumar and Amitabh Bachchan. Most people growing up in the 80s would have watched his movies and he is probably more popular (in numbers at least) than Brad Pitt or George Clooney. He is a household name amongst South East Asians. So, for University of Edinburgh to grant SRK with an honorary doctorate in commemoration of his career and influence was truly inspiring. His speech on ‘life lessons’ was a nostalgic foray into his acting career coupled with the lessons one can take from them like being kind, accepting our eccentricities and loving each moment. Towards the end, Khan couldn’t break from his tradition of being a comic entity and started doing the ‘lungi’ dance with full pelvic thrusts in front of such esteemed educationists. Khan is able to transcend all customs and traditions of the Scottish people by adding his own Indian twist and yet the audience lapped it right up. It would be unfair to grant an honorary doctorate to Khan without him giving a glimpse of what exactly makes him famous. In his speech, he mentioned that he did the lungi dance at a marketing convention as well which goes some way in showing that this forms a big part of his public appearances. To have the ability to let your hair down at such a formal and regimented occasion is not an easy feat but Khan does it with aplomb and confidence. He is able to do this because his audiences love it and feel entertained and that is, after all, what he specialises in. A neurosurgeon receiving a doctorate will highlight what feats he achieved saving lives but Khan will do what he does best. I find that no matter what personal minefields Khan goes through, he can never take life too seriously and that is ultimately what is his greatest appeal. In his speech he mentioned the importance of focusing on life’s goals without whining which is very potent advice for anyone. His message is one that we can all in some way relate to. Plus his dance moves and movies provide an escape route for thousands from the mundane and tedious lives that they may lead. He never gave up on his passions and his pursuit of greatness, which is something we can all applaud to. His successful acting career goes to great lengths in allaying the fears of condemnatory parents who don’t want their children to pursue arts and entertainment. Khan achieved a doctorate degree from a world-renowned institution without excelling academically. Khan will always remain an icon. He is a gargantuan persona with a massive following. Although he may have suffered criticism and scandal in his life, he has always remained stoic and composed during such times. I personally believe this honorary doctorate is the ultimate culmination of a very successful career and his dance moves will be revered for years to come. Congratulations Dr Shah Rukh Khan!

A disclaimer of sorts before I begin this piece; I have never been a huge Shah Rukh Khan (SRK) fan (no pun intended). Au contraire, even back in the day when everyone and their dog was drooling over his excessively exaggerated psychotic characters in Darr (1993), Baazigar (1993), Anjaam (1994) and Ram Jaane (1995), I found Shah Rukh Khan’s quirkiness more exasperating than endearing. I mean, okay I get it – you pulled off a deranged anti-hero successfully once, but why in God’s name would you don the same eccentric avatar over and over again that is bound to be milked dry in no time? Fortunately for SRK, these zany characters were counterbalanced by another sort of character that he so nauseatingly loved to repeat, that of a lovable idiot. Long story short, if he wasn’t hamming his way out as a manic ‘K k k Kiran’ stalker, he most certainly would be found playing an adorable simpleton like Sunder in Chamatkar (1992), Raj in Raju Ban Gaya Gentleman (1992) and Sunil in Kabhi Haan Kabhi Naa (1994). [caption id="" align="alignnone" width="500"] Shah Rukh Khan.
Photo: Giphy[/caption] But back then SRK could still be called an actor, albeit a moderately talented one. A one-trick, or at most, a two-trick pony that didn’t have versatility in his repertoire. [caption id="" align="alignnone" width="245"] Shah Rukh Khan.
Photo: Giphy[/caption] Then SRK struck gold with Dharma Productions and Yash Raj Films by playing an overdose of single-faceted Rajs and Rahuls in some of the most Bollywoodish rom-coms like Dilwale Dulhania Le Jayenge (1995) and Mohabbatein (2000), Dil To Pagal Hai (1997), Kuch Kuch Hota Hai (1998) and Kabhi Khushi Kabhie Gham... (2001). [caption id="" align="alignnone" width="460"] Shah Rukh Khan.
Photo: Giphy[/caption] Fortunately for Shah Rukh Khan, people in our part of the world had no issues lapping up mediocrity under the guise of acting and he emerged on top of B-Town, with an audience all high on senselessly drinking the same old wine from new but shamelessly similar bottles. But all bad things, like good things, must come to an end and Shah Rukh Khan’s baffling rise was halted right in its track when he started pairing up with equally limited directors in Farah Khan and Rohit Shetty in some extremely direly scripted flicks such as Chennai Express (2013), Happy New Year (2014) and Dilwale (2015) to name a few. So Fan is King Khan’s way of reaching back to his acting roots and trying to salvage whatever is left of his rapidly depreciating career as an actor. [caption id="" align="alignnone" width="426"] Shah Rukh Khan.
Photo: Tumblr[/caption] Fan is Shah Rukh Khan attempting to marry the only two characters he could act out, the wacky (Darr etc.) and the silly (Kabhi Haan Kabhi Naa etc.), before he became the irritatingly tiresome Rahul and the tediously boring Raj. It’s a film that’s all about a fan’s pursuit of the star and then the star trying to hunt down the fan. [caption id="" align="alignnone" width="600"] Shah Rukh Khan.
Photo: Screenshot[/caption] Fan is Martin Scorsese’s King of Comedy (1982) meets Stephen King’s Misery, with a bit of Tony Scott’s The Fan (1996) thrown in for flavour. https://www.youtube.com/watch?v=nkS_Ar0Yad0 Gaurav (Shah Rukh Khan), a lifelong fan of fictional matinee idol, Aryan Khanna (Shah Rukh Khan) also happens to look like him. He has put his uncanny resemblance to good use by channelling his obsession into a trophy-winning tribute act at the local talent competition. After getting tired of winning the top prize at the said show repeatedly, he decides to present his latest award to his idol as a birthday present. [caption id="" align="alignnone" width="600"] Shah Rukh Khan.
Photo: Screenshot[/caption] [caption id="" align="alignnone" width="600"] Shah Rukh Khan.
Photo: Screenshot[/caption] With this thought in mind, Gaurav embarks on a pilgrimage to Mumbai to meet his celebrity-god. Once there, he realises that there are millions of others like himself and begins to feel neglected when he turns up at Aryan’s doorstep. In order to grab his hero’s attention and meet him personally, Gaurav hatches a sinister plan which backfires spectacularly when his first encounter with his obsession turns ugly. [caption id="" align="alignnone" width="600"] Shah Rukh Khan.
Photo: Screenshot[/caption] When slighted by his idol, Gaurav, owing to his striking resemblance, vows to make the narcissistic star chase after him and engineers a bitter confrontation that plays out in London, Dubrovnik and Mumbai. [caption id="" align="alignnone" width="600"] Shah Rukh Khan.
Photo: Screenshot[/caption] Fan is not a great film. Well, heck, it’s not even a mediocre one! What it is though, is a brave film. With an intriguing premise devoid of any conventional Bollywood song, inexplicably shot at exotic locales and lacking an established eye-candy in the form of a leading B-town lady, the movie certainly deserves credit for being audacious by breaking all the rules of archaically commercial filmmaking. But the outrageously flawed script and the logic-defying drama in the second half puts a stop to all the brownie points that Fan earned for a uniquely daring concept. [caption id="" align="alignnone" width="600"] Shah Rukh Khan.
Photo: Screenshot[/caption] I am still trying to wrap my head around how a common fan can become so adept at dangerous Parkour stunts and death-defying intercity chases. Not to mention, a super star running after a common fan, who bizarrely turns out to have all the unlikely resources at his disposal. Strangely, no personal body guard or cops step up to take the responsibility. Talk about taking a huge leap of faith with cinematic liberties. Other than the first half an hour, with the precise Delhi detailing that Maneesh Sharma is so good at, the Band Baaja Baaraat (2010) famed director fails at every single turn in telling a story that had so much potential. [caption id="" align="alignnone" width="600"] Maneesh Sharma.
Photo: IMDb[/caption] For instance, he could have worked harder on developing the real conflict in the plot instead of concentrating on the ridiculous chases. The narrative could have been a lot more captivating if he had focused on making the cat and mouse chase more difficult for the unresourceful Gaurav instead of the have-it-all Aryan. The leads were so shoddily written that even when you are supposed to be empathetic towards one and judge the other, you couldn’t quite decide. Frankly, I personally couldn’t even care! This is a testament to how emotionally disengaging the doppelgänger duo were as characters, in terms of both scriptwriting and acting. A saving grace of sorts is the top tier special effects work from world-renowned makeup artist and nine-time Academy Award nominee Greg Cannom who has also contributed his expertise to Dracula (1992), Mrs Doubtfire (1993) and The Curious Case of Benjamin Button (2008). [caption id="" align="alignnone" width="600"] Greg Cannom and Shah Rukh Khan.
Photo: IMDb[/caption] [caption id="" align="alignnone" width="600"] Shah Rukh Khan.
Photo: Screenshot[/caption] If there is one thing I have learned over the time as an avid movie watcher, it’s not to have any high hopes from a film that has anything to do with SRK. With a tremendously promising concept, Fan could have been a whopping shot at redemption for SRK. Alas, the nauseous glorification of King Khan by the filmmakers in the most melodramatically Bollywood way possible made sure that never happened. The King of Bollywood is almost dead, long live the King! [caption id="" align="alignnone" width="245"] Shah Rukh Khan.
Photo: Giphy[/caption] [poll id="524"]

We finally caught a glimpse of Karan Johar’s ambitious project, Ae Dil Hai Mushkil, starring Ranbir Kapoor, Anushaka Sharma, Aishwarya Rai Bachan and our very own Fawad Khan. What I gathered from the snippet is that the movie is fresh, dark, passionate and has a melodious soundtrack. This is Karan Johar’s first directorial venture after Student of the Year (2012). But Ae Dil Hai Mushkil is expected to be comparatively bigger, better and more appealing. [caption id="" align="alignnone" width="600"] Ranbir Kapoor, Anushaka Sharma and our very own Fawad Khan.
Photo: Instagram[/caption] [caption id="" align="alignnone" width="600"] Karan Johar and Fawad Khan
Photo: Instagram[/caption] I am extremely excited about the following things. 1. Music Karan Johar is famous for the euphonious music in his movies. Nearly all his movies have chartbuster songs and I feel Ae Dil Hai Mushkil will not be any different. The teaser features the title song, sung by Arijit Singh and composed by Pritam. It’s my personal favourite. [caption id="" align="alignnone" width="600"] Anushaka Sharma
Photo: Screenshot[/caption] [caption id="" align="alignnone" width="600"] Ranbir Kapoor
Photo: Screenshot[/caption] 2. The lead cast. Social media is abuzz after finding out about the lead cast. I mean who wouldn’t want to see Aishwarya, Ranbir, Anushka and Fawad Khan together in a movie? Eye candy and talent? I cannot wait to watch this movie. [caption id="" align="alignnone" width="600"] Fawad Khan
Photo: Screenshot[/caption] [caption id="" align="alignnone" width="600"] Anushaka Sharma
Photo: Screenshot[/caption] [caption id="" align="alignnone" width="600"] Ranbir Kapoor and Aishwarya Rai Bachan
Photo: Screenshot[/caption] All the actors look absolutely gorgeous in the movie. It’s obvious that Karan Johar has worked hard on each of their looks, costumes and makeup. The four of them emote so perfectly that for a moment you forget a world outside the movie exists. There is hurt, there is loneliness, there is passion, there is aggression and there is sadness; brilliantly depicted by each of the actors. [caption id="" align="alignnone" width="600"] Ranbir Kapoor and Anushaka Sharma
Photo: Screenshot[/caption] [caption id="" align="alignnone" width="600"] Ranbir Kapoor and Aishwarya Rai Bachan
Photo: Screenshot[/caption] [caption id="" align="alignnone" width="600"] Ranbir Kapoor and Anushaka Sharma
Photo: Screenshot[/caption] 3. Cinematography Just like he is known for his music, Karan Johar is also famous for picking gorgeous locations for his movies. London in Kabhi Khushi Kabhie Gham (2001), New York in Kabhi Alvida Naa Kehna (2006) and Ae Dil Hai Mushkil in Europe and India. The film is shot in Vienna, Paris, Austria, London and Rajasthan. The teaser has aptly captured the true beauty of these places. [caption id="" align="alignnone" width="600"] Aishwarya Rai Bachan
Photo: Screenshot[/caption] 4. Ranbir’s voiceover

“Ek tarfa pyar ki taaqat hi kuch aur hoti hai.. auro ke rishton ki tarah yeh do logon mein nahi bathti.. sirf mera haq hai ispe.” (Unrequited love has its own strength.. it doesn’t get divided between two people.. it is only mine to claim.)

No matter how much humans love happiness, there is something oddly relatable about sadness and tragedies. Ranbir’s painful rendition about unreciprocated love will leave a lump in everyone’s throat and it definitely made the plot more intriguing. [caption id="" align="alignnone" width="600"]

Ranbir Kapoor and Anushaka Sharma
Photo: Screenshot[/caption] 5. Anonymity of the lead pair Karan Johar has kept the main story line under wraps. The lead cast has been announced, but we are yet to figure out the love equation. It is rumoured that the movie may have some powerful special appearances such as Shah Rukh Khan and Saif Ali Khan. [caption id="" align="alignnone" width="600"]

Ranbir Kapoor, Anushaka Sharma and Aishwarya Rai Bachan[/caption] 6. Karan Johar We will have to accept that Karan Johar is the only director who has a powerful presence, even when he’s behind the lens. He knows how to connect with the audience. In other words, he masters the crowd pulling factor. [caption id="" align="alignnone" width="600"]

Anushaka Sharma
Photo: Screenshot[/caption] The movie releases on October 28, 2016, therefore it is safe to say that we can expect a beautiful autumn gift from Karan Johar and company this year. Moreover, contrary to the run of the mill six month extended promotion strategy; Dharma Productions have started to keep it short and simple. They tried this strategy with Kapoor & Sons (2016) and are doing the same with Ae Dil Hai Mushkil. A maximum of 60 promotional days will help keep the buzz alive for the movie. The full length trailer is expected to release on September 9^th, the same day Baar Baar Dekho (2016) is releasing. [caption id="" align="alignnone" width="600"]

Ranbir Kapoor and Anushaka Sharma
Photo: Screenshot[/caption] [caption id="" align="alignnone" width="600"]

Ranbir Kapoor and Aishwarya Rai Bachan
Photo: Screenshot[/caption] I definitely cannot wait for the official teaser. I hope it lives up to its hype.

With less than ten days on the calendar, get ready to lap up a potboiler in the name of the SRK brand once again. Following a delay of almost a year, Shahrukh Khan is back from taking a break from his romantic image with Raees. [caption id="" align="alignnone" width="600"] Shahrukh Khan and Mahira Khan in Raees (2017).
Photo: IMDb[/caption] Set in 1980s Gujarat, Raees tells the story of Liquor Baron Raees Alam (Shahrukh Khan), whose business is challenged by a police officer ACP Majmudar (Nawazuddin Siddiqui). How the two go head-to-head forms the crux of the narrative. First things first, the movie is a period action-thriller and judging by whatever we managed to extract from all the previews of the films, the production design is nothing to write home about. For a movie set in the 80s, only the tropes employed by the filmmaker seem to be from that particular era. Emerging from the smoke for an intended ‘whistle entry’, bravo Hashmi Surma sponsored King Khan! This particular ‘protagonist opening’ was only used a million times during the worst period of Bollywood. [caption id="" align="alignnone" width="600"] Shahrukh Khan in Raees (2017).
Photo: IMDb[/caption] Alternatively, when you have powerhouse performers like Shahrukh and Nawaz, you should be doubly conscious of the content you are providing them to work with. Case in point, these supposedly quotable lines from the trailer:

“Ammi jaan kehti thi koi dhandha chhota nahi hota, aur dhande se bada koi dharm nahi hota.” (Mother always said, no business is small, and no religion is bigger than business) “Aap mujhe kahin bhi transfer kar dijiye, Raees ko nahin chhodunga.” (No matter where you take me, I will not leave Raees). “Baniye ka dimaag aur Miyanbhai ki daring.” (The mind of a businessman and courage of a Muslim).

These dialogues might only work because they were delivered by two actors who could simply read entries out of a telephone directory and make them sound like poetry, else the range of material they are forced to act out is ordinary, at best. The duo reminds me of Al Pacino and Bobby de Niro in Heat and are the single biggest reason why I would want to watch the movie. Oh and speaking of performances, there is a certain Mahira Khan in there too. The best thing I can say about the Paki diva is how she manages to hold her own against someone as huge as SRK without even an iota of inhibition in her act. [caption id="" align="alignnone" width="600"]

Mahira Khan in Raees (2017).
Photo: IMDb[/caption] So will Raees, with the fastest trailer on YouTube to cross 100K likes, be as record breaking in crossing the 100 crore barrier? Guess we won’t have to wait that long to find out. [poll id="727"] [caption id="" align="alignnone" width="328"]

Shahrukh Khan in Raees (2017).
Photo: IMDb[/caption]

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.

Climate change is a ‘hot’ button issue in Pakistan. Both literally and figuratively. Summer 2022’s disastrous floods submerged almost a third of the country under water, affecting 33 million people, and displacing eight million. 2024’s heatwave is currently in full swing, with the Pakistan Meteorological Department reporting that nationwide temperatures are five to six degrees Celsius above normal. This has led to a surge in heatwave-related casualties with over 568 dead, and more than 5000 hospitalised. Apart from this, glaciers are rapidly melting, and forest fires have increased due to the harsh weather. In the backdrop of this fast-escalating crisis in the worlds fifth most climate-vulnerable country, the judiciary’s intervention is integral. Recognising the importance of the climate crisis, the keen interest taken by Superior and District judiciary is highly commendable. First, a look at the recent Climate Change Conference organised by the Law and Justice Commission in the Supreme Court. It was attended and chaired by Chief Justice Qazi Faez Isa, Justice Mansoor Ali Shah and Justice Ayesha Malik. The Chief Justice, called climate change an “Illness and sickness of the Earth, as a fever is to the human body.” He emphasised the importance of protection and preservation of natural life and the environment and urged the participants to play their part in spreading climate awareness. Justice Mansoor Ali Shah, remarked that climate protection cases are still not mainstream and urged all judges to deal with them like serious human rights issues. He said it was time to go beyond human-centric approach and begin protecting nature. Further, he encouraged the use of Alternative Dispute Resolution and Commercial Courts to solve climate issues. He gave the idea of a ‘Global Court’ as a forum for Pakistan to claim losses of $15-20 Billion as a result of the 2022 floods, attributed to fossil fuel emissions from the Developed nations. Justice Ayesha Malik delivered an insightful presentation on Environmental Jurisprudence and its enforcement. She mentioned the Asghar Leghari case, where the court formed a commission to deal with an environmental protection case. She revealed that this case ultimately brought about the current Climate Change policy at the national level and even played a part in forming the Ministry of Climate Change. Justice Ayesha informed the audience about the tools the court uses to deal with environmental protection cases like zoning laws, which are laws that limit the commercial or industrial use of land. She urged the courts to push for enforcement of climate laws. The Justice also mentioned how women and vulnerable groups were most affected by climate change. Further, she talked about how the courts made use of Public-Private partnership, which played a pivotal role in helping the government fight climate change in public spaces where it lacks the requisite funding. Lastly, she mentioned that courts play a huge role in battling climate change by the method of Calling for Reports and Information in cases related to climate change. This leads to the creation of reports, data and documentation. Secondly, last week’s lecture at the Federal Judicial Academy, titled ‘Climate Causality: From Causation to Attribution’ conducted by Ms Petra Minnerop, the Founding Director of Durham University’s Centre for Sustainable Development Law and Policy (CSDLP), is also of profound importance. Organised by Justice Mansoor Ali Shah (Supreme Court), Justice Jawad Hassan (Lahore High Court), and Judge Fakhar Zaman (Federal Judicial Academy), the lecture was attended by judges, magistrates and law officers from all over Pakistan. Ms Minnerop discussed the importance of ‘Climate Causality’, which refers to the causal chain connecting climate change to losses. It plays a part in minimising the loss and damage from climate change, a duty recognised by courts, and enshrined in Art 8(1) of the Paris Agreement. She explained how Causation and Attribution are intertwined legal concepts in global climate jurisprudence. The main obstacle faced by the courts is establishing causation. The Professor went on to give examples of case law from around the world, from the United States, to France, to Phillipines. Cases were brought against both governments and corporations, alleging their complacency or direct involvement in exacerbating climate change. For example, she explained how in the Australian case of Gloucester Resources Ltd VS Minister for Planning, a proposal for construction of an open-cut coal mine was rejected by a court on environmental grounds, including the projected carbon emissions that would arise from its operation. Such cases were highlighted to encourage the judiciary to take a proactive approach in cases related to climate change where the necessary criteria have been met. She elucidated that evidence was crucial to prove a claim in climate litigation, citing the convergence of observation and climate models. The intensity of climate events confirmed by climate models, make or break a case. The lecture followed a Question and Answer session, where a civil judge questioned Ms Minnerop as to why Pakistan was bearing the brunt of climate change alone while it was amongst the lowest contributors to carbon emissions worldwide. Ms Minnerop replied that Pakistan was a signatory to the UN Framework Convention on Climate Change (UNFCCC), as well as among the more than 100 countries to pledge to curb methane emissions and deforestation at COP26. She added that Pakistan was responsible to take a serious approach towards its nationally determined contribution and sustainable climate projects to collect the climate finances pledged by the Developed countries at COP28. Further, she suggested that Pakistan needs to have verified data-sets available regarding climate change developments and needs to have proper legislation and research in place to take advantage of climate litigation as a useful tool in combatting climate change. Ms Minneropended the lecture by thanking the judges and law officers for their interest and willingness to play a role in curbing climate change through their respective domains. This recent upsurge of awareness regarding Climate Change taken up by the nation’s judiciary is commendable and gives the citizens a hope for a clean, green and sustainable Pakistan.

Jab Tak Hai Jaan took all the jaan in me to sit through

Talaash: This is serious business

Shahrukh Khan’s fear is our fear

Chennai Express: A perfect Bollywood masala film!

Happy New Year: Just another (tasteless) Shahrukh Khan blockbuster

Shah Rukh Khan did what he does best – the lungi dance

I’d rather watch a ceiling fan than Shah Rukh’s Fan!

Ae Dil Hai Mushkil’s teaser is out and it was worth the wait!

Will Raees live up to the standards of its record breaking trailer?

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

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

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

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

When khudkushi became her only freedom

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

Rawalpindi: A chaotic labyrinth, caught between heritage and heresy

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

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

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

Fighting climate change through the courtroom