Life & Style

Filmmaker Karan Johar is set to collaborate with acclaimed director Prosit Roy on a new psychological love story under the banner of Dharma Productions. The project is currently in the development stage and is expected to begin production later this year, marking a fresh creative partnership for both filmmakers. According to industry reports, the untitled film will blend romance with psychological elements, offering a darker and more emotionally layered narrative than conventional love stories. While the makers have kept the plot tightly under wraps, sources describe it as an intense relationship drama with a psychological twist. Prosit Roy is best known for directing the supernatural thriller Pari, starring Anushka Sharma, and the crime thriller series Raakh. His work has earned praise for its atmospheric storytelling and ability to explore the darker side of human emotions. His collaboration with Dharma Productions is expected to bring a fresh storytelling style to the production house’s slate. Reports suggest the film is still in the scripting and pre-production phase, with casting expected to begin soon. The makers are currently searching for the lead actors before moving the project to the shooting stage. Principal photography is likely to commence towards the end of 2026 if everything proceeds according to schedule. For Karan Johar and Dharma Productions, the project represents another step towards exploring diverse genres beyond traditional family dramas and romantic entertainers. In recent years, the production house has expanded into thrillers, courtroom dramas, horror and experimental storytelling, reflecting its changing creative vision. The announcement has generated excitement among Bollywood fans, many of whom are eager to see what Prosit Roy brings to the psychological romance genre with Dharma’s backing. Social media users have praised the collaboration, calling it an unexpected yet promising combination that could deliver a fresh cinematic experience. Although the film’s title, cast and release date remain undisclosed, the collaboration has already become one of the most talked-about upcoming Bollywood projects. With Prosit Roy’s distinctive filmmaking style and Karan Johar’s production expertise coming together, expectations are high for a film that aims to combine romance, suspense and psychological depth in a unique way.

Yami Gautam is reportedly set to headline Kahaani 3, taking over the lead role in the acclaimed thriller franchise previously fronted by Vidya Balan. The film, directed by Sujoy Ghosh, is currently in the pre-production stage and is expected to introduce a completely fresh story while retaining the signature mystery and suspense that made the franchise a favourite among audiences. According to reports, Kahaani 3 will not continue the storyline from the first two films. Instead, the makers are planning an entirely new narrative set within the same cinematic world. This approach is intended to preserve the franchise’s identity while giving audiences a fresh mystery to unravel. Sujoy Ghosh, who directed both Kahaani (2012) and Kahaani 2 (2016), is returning to helm the third instalment. An industry source quoted in multiple reports said, “Kahaani 3 is a new story altogether. The idea is to take the franchise forward while retaining the essence of the world that audiences have loved.” The source added that Yami Gautam has been chosen for the lead because her character has a powerful and emotionally layered arc that fits the film’s vision. The insider further revealed that the project is still in its early stages, with the creative team working on the script and production schedule before filming begins. “The film is still in the pre-production stage, and the team is working on the timelines for the shoot,” the source said. Speaking about Sujoy Ghosh’s return, the source explained that the filmmaker has a clear plan for the franchise’s future. “Sujoy has a very clear vision for the Kahaani world. He is working closely with the team to ensure that the third film feels fresh but still carries the soul of the franchise.” The source also noted that there is considerable excitement surrounding Yami Gautam’s casting, while the makers continue to finalise the shooting schedule. The Kahaani franchise has long been associated with Vidya Balan, whose performances as Vidya Bagchi and Durga Rani Singh earned widespread critical acclaim and helped establish the series as one of Bollywood’s finest mystery thrillers. Reports suggest that while Yami Gautam will now lead the franchise, the upcoming film is not intended to replace the earlier stories but rather expand the Kahaani universe with a new protagonist and standalone plot. Yami Gautam, who has earned praise in recent years for her performances in female-led films, is expected to bring a different dimension to the franchise. Industry observers believe the role could become another milestone in her career, especially given the strong legacy attached to the Kahaani brand. Although the makers have not officially announced the film’s cast or release date, reports about Yami Gautam leading Kahaani 3 have generated significant excitement among fans. Many have welcomed Sujoy Ghosh’s return and expressed curiosity about how the new chapter will honour the franchise’s legacy while introducing a fresh mystery for audiences.

Pakistani television dramas tend to follow familiar patterns. Family feuds, romantic misunderstandings, domestic conflicts. Shaandaar, the new crime thriller airing on Express Entertainment, has made a deliberate choice to go somewhere different, and the early response suggests audiences are ready for exactly that. The 16-episode drama, directed by Wajahat Rauf, draws inspiration from several real-life roadside killing cases that have sparked public debate and outrage in Pakistan. It is not a dramatisation of any single incident. Instead, the story brings together elements from different cases involving violence, privilege and the kind of power that can sometimes make consequences disappear. The question it keeps returning to is one that many Pakistanis have asked in real life: what happens when the powerful believe they are beyond accountability? For Ahsan Afzal Khan, who plays the central character Salar, the project offered something rare. “A script picked by Mr Wajahat Rauf already gives you the impression that something different is coming,” he told The Express Tribune. He described the opportunity to work in this genre as one of the main reasons he signed on. “There are very few such stories. We were getting a chance to do something different, a crime thriller genre.” Salar is not easy to like. He is privileged, arrogant and narcissistic. He looks down on others and misuses his influence. But Khan was careful to distinguish between understanding a character and excusing one. “I hope people relate to the human side of Salar, but not to his entire personality,” he said. He also pushed back on the idea that characters can be neatly sorted into good and bad. “No negative character is a bad person, and no positive character is a good person. We are all layered somewhere.” His explanation for how someone becomes Salar is rooted in how they were raised and what they absorbed along the way. “Did we face bullying? What did we face? All of that is incorporated into your mind. You are reacting as a defence mechanism.” Beneath the arrogance, there is a human being shaped by something. But those origins do not erase the damage. The drama is designed to move quickly. Khan described it as “fast-paced, gritty and dark,” but said the tone is not relentlessly heavy. “There is a light mood too, then slowly it gets darker and darker. There are social messages and a lot of things.” He said he watches the episodes with his family and finds himself wanting to see the next one. “It keeps you interested. It is not dragged.” That pace appears to be connecting with a younger audience. “Teenagers and Gen Z are enjoying this drama a lot,” Khan said. He also noted that viewers who usually prefer international content have expressed interest in the series, which says something about how far Shaandaar’s tone and subject matter depart from what Pakistani television typically offers. The ensemble cast includes Shamoon Abbasi, Shahzad Sheikh, Areeka Haq, Ali Dayan, Laila Wasti and Ahsan Afzal Khan. Together they inhabit a world where privilege and power create consequences that ordinary people cannot escape, and where the same actions carry very different costs depending on who commits them. It is a world many Pakistani viewers will recognise without needing it explained.

New York City Mayor Zohran Mamdani is not your average politician, and the playlist he shared with Rolling Stone makes that abundantly clear. In a candid and wide-ranging interview with the magazine, the newly elected mayor opened up about his love of music, name-dropping artists from Uganda, Pakistan and the United States in a conversation that has since generated considerable excitement, particularly in Pakistan. The moment that caught Pakistani audiences off guard was Mamdani’s mention of Shamoon Ismail, the Pakistani rapper and singer who has built a substantial following through his distinctive blend of pop, R&B and Urdu and English lyrics. “I’ve also been listening to a Pakistani rapper named Shamoon Ismail, who I’ve listened to for a few years, but I’m also listening to a little bit more of his music,” Mamdani said. The acknowledgement from the mayor of one of the world’s most powerful cities landed with particular warmth among Pakistani fans, who were clearly delighted to see a homegrown artist reach the playlist of such a prominent international figure. Mamdani was candid about what music means to him beyond casual listening. “It’s part of how I understand the world and how I understand my place in the world,” he said, framing music not as entertainment but as a tool for making sense of life and identity. The interview also offered a window into how his relationship with music began, rooted in the particular atmosphere of early 2000s New York. “I used to love going to Tower Records. They would have just floors of an incredible number of CDs, and for some reason, I loved The Offspring at the time,” he recalled, describing the kind of music discovery that now feels like it belongs to a different era entirely. His memories of finding music in the city carried the texture of street-level New York. “There were three to four albums. The first version I was given was the clean version of Jay-Z’s The Blueprint. The funny thing was that they used to sell bootleg CDs right outside of Tower Records, and that’s where I bought Eiffel 65’s Europop,” he said, the detail of the bootleg seller outside Tower Records painting a vivid picture of the city he grew up in. His Ugandan roots also appeared in his playlist. “I’ve been listening to a lot of Radio & Weasel, who are a duo from Uganda, who were running the charts for a long, long time,” he said. And for quieter, more reflective moments, he reached for country music. “And, you know, if I’m feeling reflective, throw on some Kacey Musgraves,” he added. Mamdani, who is of South Asian and East African descent, became a cultural talking point when he wrapped up his 2025 electoral victory speech to the Bollywood track Dhoom Machale as his family walked onto the stage. That moment went viral and signalled from the very beginning that this was a politician with a different kind of cultural identity from those typically associated with New York’s highest office. In a previous interview, he had also spoken warmly about Indian-American rapper Himanshu Suri, known as Heems, describing him as one of his favourite artists well before he entered politics. For Shamoon Ismail, the mention by a sitting mayor is the kind of international visibility that cannot be manufactured or bought. For Pakistani music more broadly, it is a reminder that the country’s artists are being heard in places and by people that might surprise even their most devoted local fans.

Aap Ki Izzat has only been on air for three episodes and has already become one of the most discussed dramas of the year. Written by Umera Ahmed, produced by Nina Kashif and Momina Duraid, and directed by Saifee Hassan, the Hum TV drama has amassed around 10 million views and earned remarkable TRP ratings in a very short time. Its cast, featuring Ahsan Khan, Saif Ali Khan, Urwa Hocane, Sania Saeed and Nauman Masood, has been widely praised. But not everyone is entirely comfortable with every casting choice, and two of Pakistan’s most respected actresses have said so plainly. Atiqa Odho and Marina Khan, appearing as judges on Kya Drama Hai alongside Nadia Khan, praised the drama warmly before raising a specific concern about Sania Saeed being cast as a grandmother. Their objection was not about the quality of the performance, which both acknowledged as excellent, but about the casting itself, specifically the age dynamic it creates on screen. Atiqa Odho was candid about why the role unsettled her. “I am a bit sceptical about Sania playing a grandmother because I find it difficult to accept if it’s given to me,” she said. “Sania and I started our careers together in Sitara Aur Mehrunnisa, so when I see her playing such an elderly character, I think, ‘Oh my God, why is she playing this old role? She has become a grandmother at such a young age.’” She was quick to separate her personal reaction from her professional assessment, adding: “Sania has played the role beautifully, though. But I feel like we girls are becoming old now.” The remark was as much about time and self-reflection as it was about casting. Watching a contemporary from the earliest days of her career play a grandmother is not simply a professional observation. It is a mirror held up to one’s own passage through time, and Odho’s reaction captured that complicated feeling with characteristic honesty. Marina Khan echoed the concern but framed it through the specific dynamic within the drama itself. “Nauman Masood and Sania are of the same age,” she said. “I couldn’t digest Sania in such an old-age character, especially when actors of her own age are playing younger roles. Nauman Masood, in particular, was shown as younger than her.” She too made sure to credit the performance even while questioning the decision. “There is no doubt that she is a tremendous actor and is playing the role perfectly, but they should have cast much younger actors opposite her.” Aap Ki Izzat continues to air on Hum TV and remains among the most watched and most discussed dramas currently on Pakistani television.

Two of Pakistani television’s most beloved actresses are set to share the screen in what is shaping up to be one of the most anticipated drama productions of the year. Mehwish Hayat and Hiba Bukhari will both appear in Rutba, a mega drama series coming to ARY Digital that has already generated considerable excitement online since the news broke. The drama is written by Umera Ahmed, whose work consistently draws large audiences and critical attention in equal measure. It is directed by Haseeb Hassan, who has built a strong reputation for handling ensemble productions with care and precision, and is produced by Six Sigma and Next Level Entertainment. The cast assembled for Rutba is a genuinely impressive one, bringing together Mehwish Hayat, Hiba Bukhari, Saif Ali Khan, Zahid Ahmed, Talha Chahour and others in what promises to be a story of considerable scope. The news was confirmed by Saif Ali Khan during a recent interview, where he spoke about being part of the production alongside several of the show’s other key cast members. The confirmation sparked immediate excitement among fans of the actors involved. Mehwish Hayat is one of Pakistani drama and film’s most consistent and high-profile performers. She has delivered hit after hit across both mediums, with drama serials including Dil Lagi, Meray Qatil Meray Dildar, Dayan and Mirat-ul-Uroos cementing her standing as one of television’s most capable leading ladies. On the big screen, she has been part of two of Pakistani cinema’s biggest commercial successes, Punjab Nahi Jaungi and London Nahi Jaunga, both of which crossed major box office milestones and established her as a genuine film star rather than simply a television name. Hiba Bukhari has built her own formidable body of work across the same period. Her performances in Deewangi, Fitoor, Meray Humnasheen and Jaan Nisar have made her one of the most consistently watched actresses on Pakistani television, with a fanbase that follows her work with considerable loyalty and enthusiasm. The online response to the Rutba announcement has reflected exactly that. Fan comments flooded in with excitement over the pairing, with particular curiosity around the roles that Hiba Bukhari and Saif Ali Khan will be playing. Some fans expressed anticipation over the prospect of seeing Hiba in a new and different kind of character, while others simply celebrated the fact that two of their favourite actresses would be appearing in the same production. With Umera Ahmed’s writing, Haseeb Hassan’s direction and a cast of this calibre, Rutba arrives with substantial expectation behind it. No air date has yet been announced, but the confirmation alone has been enough to put the drama firmly on the radar of Pakistani television audiences well ahead of its premiere.

Singer, activist and philanthropist Shehzad Roy is heading to the United States next month, and this time he is bringing comedian and actor Tabish Hashmi along for the journey. The two have announced Zindagi Trust’s annual fundraising dinner tour, scheduled to take place across six American cities between September 18 and 25, with the aim of rallying support from the Pakistani diaspora for one of the country’s most pressing challenges: quality public education. Roy shared the announcement through a video posted on his Instagram account, speaking with the urgency and conviction that has come to define his advocacy work over many years. He was direct about what the tour was trying to achieve and why the Pakistani diaspora’s involvement matters. “That time is not far when people in Pakistan won’t have to beg for education, and parents will be able to send their children to government schools with confidence, knowing they will learn from the best local teachers,” Roy said. He also emphasised the structural reforms he believes are essential to getting there. “We also need proper licensing and qualifications for teachers,” he added. Speaking about the tour itself and what it would offer those who attend, Roy described it as an opportunity for supporters to understand the full picture of what Zindagi Trust has been doing on the ground. “We are coming to share how the organisation is changing the paradigm for government schools and government teachers,” he said. His invitation to the diaspora was direct and personal. “We will share everything that has been accomplished, what still needs to be done, and how each of you can play an integral part in this cause. So please be there,” he said. Roy also explained his decision to bring Hashmi along as a companion for the tour, offering what is clearly both a personal and strategic reason. “He is a great entertainer and will bring happiness into your lives. The reason I am bringing him is because he truly believes in our cause,” he said. The combination of Roy’s advocacy record and Hashmi’s ability to connect with audiences through humour and warmth suggests an event format designed to be as engaging as it is purposeful. The tour will take in Chicago, New Jersey, Washington, Dallas, Houston and San Francisco, covering a significant spread of cities with large Pakistani diaspora communities. Zindagi Trust was founded by Roy with the mission of transforming Pakistan’s public school system, improving access to quality education for children who would otherwise have no alternative, and raising the professional standing of government school teachers across the country. Over the years, Roy has remained one of Pakistan’s most persistent and credible voices on children’s rights and education reform, using his platform as an artist to keep the conversation alive in ways that formal advocacy alone rarely manages. The American tour represents an effort to extend that conversation beyond Pakistan’s borders and bring those who have left the country into a direct relationship with the work being done on the ground. For the communities in those six cities, September’s fundraising dinners will offer both an evening of entertainment and a meaningful opportunity to contribute to something real.

Kelly Clarkson is thriving on her own, and she made sure her Las Vegas audience knew it. During her residency at Caesars Palace on Friday, the Grammy-winning singer turned a moment of audience banter into one of the most relatable and widely shared comments of her recent public appearances, delivering a set of honest and very funny observations about single life that quickly resonated online. Addressing the question that people apparently keep asking her, Clarkson went straight to the point. “People are like, ‘Oh, why are you single?’ And I’m like, ‘First of all, there are a lot of people out here making single look real good,’” she joked to the crowd. She did not stop there. “And if you didn’t really understand what I meant by that, it’s like you see relationships and you’re like, ‘I am so glad I’m going home alone.’” The audience reportedly laughed along with a recognition that needed no further explanation. She followed that with one more line that landed particularly well. “You know what’s not happening in my house?” she said before adding: “That s–t.” But Clarkson also shifted tone to deliver something more sincere beneath the comedy. She acknowledged that long-term relationships, when they do work, require sustained and conscious effort from both people involved. “If you are in a relationship, the hardest part is just keeping that fire alive and still dating,” she said. “And like still making it feel magical and not monotonous.” It was a moment that balanced her comedic instincts with a genuine insight about why relationships are hard, and why being honest about that matters more than performing contentment. Clarkson has kept her personal life largely private since her divorce from Brandon Blackstock, with whom she shares two children. Since finalising the separation, she has channelled her energy into her music, her long-running talk show and her parenting, rarely speaking at length about romance or the prospect of a new relationship. Her Las Vegas residency has given her a different kind of platform, one that is intimate, live and visibly free of the usual formalities that shape media appearances. In that setting, she has clearly felt comfortable speaking with the kind of unfiltered candour that her fanbase has always responded to. The comments from Friday’s show spread quickly online, with many fans describing the moment as the most relatable thing they had heard in months. For Clarkson, it appears that choosing herself is not a consolation. It is the plan.

US influencer and hairstylist Sara Gilson was fatally shot in what authorities are investigating as an apparent murder-suicide, just weeks after she publicly accused her estranged husband, Jeremiah “Shawn” Duffey, of being a paedophile in a viral TikTok video. The tragic incident has drawn widespread attention, raising concerns about domestic violence and online safety. Gilson, 43, had built a strong following on TikTok by sharing lifestyle, beauty and family-related content. She also worked as a hairstylist in Oklahoma and frequently posted videos featuring her children and everyday life. Shortly before her death, one of her TikTok videos went viral after she claimed she had discovered disturbing information about her estranged husband. According to investigators, police responded to a 911 call from Gilson’s home in Owasso, Oklahoma, on July 23. A child inside the house contacted emergency services, and the dispatcher reportedly heard screaming and crying before a loud noise. Officers later found Gilson and Duffey with fatal gunshot wounds. Authorities believe Duffey shot Gilson before taking his own life. The investigation remains ongoing. The case has gained national attention because it followed a series of legal actions taken by Gilson. Court records show she had filed multiple protective orders against Duffey over the years, with the most recent one granted shortly before her death. The order required him to stay away from her and leave their shared home. Separate court documents also reveal that another protective order had been filed on behalf of a 15-year-old girl, accusing Duffey—who coached a youth basketball team—of inappropriate sexual conduct. Those allegations are separate from the homicide investigation and had not been resolved in court at the time of the incident. Gilson’s final TikTok posts received millions of views after she alleged that her estranged husband was a paedophile. The videos quickly spread across social media, with many users expressing concern for her safety and urging authorities to investigate the claims. Following her death, those posts resurfaced as people reflected on the tragedy. Friends and followers have remembered Gilson as a devoted mother and a positive presence online. A fundraising campaign has since been launched to support her children, while tributes continue to pour in across social media. Many users have described the incident as a heartbreaking reminder of the dangers faced by victims of domestic abuse. The case remains under investigation, and authorities have not announced any additional criminal proceedings because the suspected shooter is deceased. Meanwhile, advocates say the tragedy highlights the importance of taking threats, protective orders and allegations of domestic violence seriously, while ensuring victims have access to timely protection and support.

Katy Perry has criticised the White House after it used her 2010 hit Firework in a social media video featuring footage of US military strikes during the Trump administration. The singer said she neither approved nor supported the use of her music, arguing that it completely contradicted the song’s original message of hope, healing and empowerment. The controversy began after the White House’s official TikTok account shared a video showing military strikes, accompanied by Firework and the caption, “Iran has been warned.” The footage quickly spread online, prompting criticism from fans and eventually drawing a public response from Perry herself. Responding on social media, Perry wrote, “I am deeply appalled and angry to see ‘Firework’ used on the White House TikTok account as a backing track for video footage of military strikes.” She added, “I did not approve this, I was not asked, and I absolutely do not condone it.” The singer explained that Firework was created as an anthem of hope, resilience and inner strength—not as a soundtrack for scenes of war. She described the video’s use of the song as “a complete violation” of everything the track represents and said its uplifting message had been distorted into something that celebrated violence rather than humanity. Perry’s statement quickly gained widespread support from fans and fellow artists, many of whom praised her for speaking out. Social media users argued that musicians should have greater control over how their work is used, particularly when it becomes associated with political messaging or military action. The incident is the latest in a series of disputes involving artists objecting to the use of their music by the Trump administration or the White House without permission. In recent months, musicians including Ariana Grande, Celine Dion, Kesha, Sabrina Carpenter and others have publicly criticised the unauthorised use of their songs in government videos and political content. The White House has not indicated that it sought Perry’s permission before using the song. The debate has reignited broader discussions about copyright, artistic consent and whether music intended to inspire hope should be repurposed to accompany images of armed conflict. Perry’s response has since gone viral, with many fans saying the meaning behind Firework should be respected rather than used to promote messages the artist does not support.