Living or surviving – why does it matter when life goes on either way?

It matters. The difference lies in the choices we make, the perspective we build and where we see ourselves in the future. Have you imagined what you want your future to look like, or have you simply left it for someone else to decide?

We all have a choice. We can pursue what we truly want, or we can simply follow the path that everyone else takes.

Anyone can dream, but dreams only become reality when you plan and work for them. Without action, a dream remains nothing more than a fantasy.

“What’s your aim in life?” It’s probably one of the most common questions we are asked, yet we rarely give it the thought it deserves. Simply put, what’s your vision? Where are you headed? Where do you want to see yourself in the future?

“I want to be a doctor.”

“I want to be an engineer.”

That’s a good start, but which doctor? A cardiologist, an anaesthetist or a paediatrician? The clearer your goal, the easier it becomes to work towards it. Before you can achieve something, you need to imagine it first. A dream shouldn’t be vague; it should be specific enough to help you plan your journey.

You don’t need to have your entire life figured out. Mistakes happen, and paths change. However, having a direction keeps you from moving through life without knowing where you’re going or what to do next.

Once you have a vision, create a mission plan. Think of it as a roadmap for your life, outlining the steps you need to take, the milestones you want to reach and even a backup plan if things don’t go as expected.

What actions will you take to turn your vision into reality? Writing your mission plan down can make a huge difference. Once your ideas are on paper, they feel more real and achievable. They no longer exist only in your mind; they become something you can actively work towards.

Anyone can dream, but dreams only become reality when you plan and work for them. Without action, a dream remains nothing more than a fantasy.

Finally, be consistent. Keep putting in the effort, even if your progress feels slow. Every small step you take today brings you closer to where you want to be tomorrow.

Failure is a part of life. If you fail, stay optimistic because it means you had the courage to try. Every setback teaches you something, either what works or what doesn’t. Either way, you learn, and that is what truly matters.

Instead of measuring success by whether you won or lost, measure it by what you gained from the experience and how it helped you grow.

It’s your life. Don’t let others steer the wheel for you, or you may never explore the paths you’ve imagined for yourself. Choose your own direction, keep moving forward and don’t just sit back and watch your life pass by.

Published in Dawn, Young World, August 1st, 2026

Peter Parker is an ordinary teenager. He goes to school, faces relationship problems and even struggles with money. He lives with his Aunt May and Uncle Ben after his parents die when he is just a child.

One day, while visiting a science exhibition, Peter is bitten by a radioactive spider. That is the day his life begins to change. Like any teenager, he doesn’t want to become a hero, but after losing someone he loves, he realises he must use his powers responsibly.

He then becomes the hero we all know as Spider-Man. Even after donning the suit, Peter continues to live an ordinary life with Aunt May. As he grows older, he makes new friends, falls in love and constantly struggles to balance his personal life with his responsibilities as Spider-Man.

The lesson that shaped a hero

Uncle Ben’s words, “With great power, there must also come — great responsibility,” become the guiding principle of Peter’s life. He realises that his powers are a gift and that he must use them to help others.

Despite his young age, he always tries to do the right thing and believes everyone deserves a chance. Even when being Spider-Man comes at a personal cost, Peter refuses to turn his back on people who need his help.

Your friendly neighbourhood hero

Unlike many superheroes, Spider-Man stays close to home, protecting ordinary people from dangers that larger heroes often overlook. Whether stopping a purse snatching or preventing a city-wide disaster, Spider-Man believes every person deserves to be saved.

He remains a neighbourhood hero because he also has to balance school, work and his personal life with being Spider-Man. He cannot ignore either of his responsibilities.

For this reason, Spider-Man is not usually a full-time member of the Avengers, although he often fights alongside them. He also values his secret identity and believes there should always be a hero looking out for the little guy while the Avengers deal with the world’s biggest threats.

Spider powers and hidden struggles

After being bitten by a radioactive spider, Spider-Man gains extraordinary spider-like abilities, including super strength, incredible agility, the ability to cling to walls and his famous Spider-Sense, which warns him of danger before it strikes.

Relying as much on his intelligence as his powers, Peter invents web-shooters that fire his own web fluid, strong enough to support enormous weights and swing him between buildings. Spider-Man’s greatest weakness is often his own sense of responsibility. He constantly puts others before himself, even when it means sacrificing his own happiness. At the same time, his immense strength means he must hold back his punches to avoid seriously injuring his opponent.

Rogues’ gallery

Spider-Man’s greatest enemy is the Green Goblin, the alter ego of Norman Osborn, a brilliant businessman and scientist, as well as the father of Peter’s best friend, Harry. Norman’s experiments to enhance human abilities go horribly wrong, transforming him into the Green Goblin and setting him on a collision course with Spider-Man.

Another of Spider-Man’s greatest foes is Doctor Octopus (Dr Otto Octavius), a brilliant scientist whose experiment goes disastrously wrong, leaving him with four powerful mechanical tentacles fused to his body. Once a respected scientist, he becomes one of Spider-Man’s most dangerous enemies, serving as a tragic reminder that even good people can be consumed by ambition.

More than the spectacular web-swinging, Spider-Man represents responsibility, resilience and the belief that ordinary people can make an extraordinary difference. It is this relatability that has inspired generations to believe that anyone can wear the mask.

Read these Spidey classics

Spider-Man: BlueUltimate Spider-Man (2000) Spider-Man: Life Story

Watch these Spidey adventures

Spider-Man (2002) Spider-Man: Homecoming (2017) Your Friendly Neighbourhood Spider-Man (2025)

Published in Dawn, Young World, August 1st, 2026

Hugh Jackman, best known as Wolverine and as Charlie Kenton in Real Steel, plays George, a kind shepherd who believes sheep are the nicest animals in the world. Every night, he reads detective stories to his flock before bed, thinking they cannot understand him. But after he falls asleep in his caravan, the sheep discuss the clues, guess who the bad guy is, and prove surprisingly good detectives. When George is murdered, the sheep decide to use everything they have learned to solve the mystery themselves.

One of the funniest parts of the film is watching the sheep try to help the police officer solve the case. The sheep can talk to each other, but humans cannot understand them. They know important clues, but they have no easy way to tell people. This leads to many funny moments and shows that good ideas are not always easy to share.

The characters are among the best parts of the movie. Lily, voiced by Julia Louis-Dreyfus, is the smartest sheep and leads the investigation. Chris O’Dowd voices Mopple, a funny sheep with an amazing memory. Bryan Cranston voices Sebastian, a brave sheep who prefers to be on his own, while Sir Patrick Stewart voices Sir Ritchfield. Stewart and Hugh Jackman have acted together before in the X-Men movies, but this time they trade superhero action for a fun mystery.

Regina Hall, Rhys Darby, Bella Ramsey and Brett Goldstein also do a great job, giving each sheep a unique and lovable personality, while Emma Thompson, Nicolas Braun and Molly Gordon impress in live-action roles. Nicholas Galitzine, who recently played He-Man in Masters of the Universe,also plays an interesting character in the movie.

Director Kyle Balda, making his live-action debut after directing the Minions movies, creates a beautiful countryside that feels warm and peaceful. The visual effects are excellent, making the sheep look realistic while still capturing their funny expressions and personalities.

With everyone having a motive to kill George, The Sheep Detectives is a fun, clever and heart-warming family movie with a clue for everyone. For fans of mystery stories, it is a must-watch. If you enjoy talking animals with big personalities, this film is even more entertaining.

Published in Dawn, Young World, August 1st, 2026

I felt guilty, but it was my decision to go to a different college because I knew I had to consider my family’s financial situation and what would be most comfortable for me and for them. Another thing that overwhelmed me was that I wanted my friends to come with me, at least for the admission tests, so we could enjoy the process together.

But life is unpredictable, and eventually you have to leave people behind. That doesn’t mean you have to replace them. Perhaps it simply means they have played an important role in your life and will always be there whenever you need them. For now, though, you have to focus on your future, the challenges ahead and the new friendships that await.

When I got the date for the admission test, I realised that, unlike many other students, I had no backup plan. It was either this college or nothing. That meant I had to study, but studying during the holidays felt almost like a crime. So the days passed and I didn’t study.

On the day of the test, to my surprise, I wasn’t anxious because I hadn’t prepared. Instead, I was so excited that I couldn’t even sleep properly. With only three hours of sleep, zero preparation and a cup of coffee, I entered the college.

The campus was big, with a basketball court, a padel court and a beautiful garden. Loving the place almost felt like a betrayal of my school. We were told to form a queue and head towards the girls’ wing. Then we were sent to our examination rooms, which somehow felt like the setting of a survival thriller, only with much kinder rules and regulations.

Entering the room, I couldn’t decide where to sit until the teacher informed us that our seats had been assigned according to our roll numbers. The cherry on top was that I ended up in the very first seat. An attendance sheet was passed around the classroom, and we had to sign it and write down our parents’ WhatsApp numbers. Somehow, that made the whole exam feel even more like a thriller, as if we were signing a consent form before entering a game where we would either escape victorious or remain trapped forever.

More students arrived and, before long, the exam began. I looked around the room, and all I could sense was anxiety. Students tapped their feet, clicked their pens and quietly waited for the papers. The teacher handed out the question paper and, to my surprise, it was a piece of cake. I even finished before the allocated time. Afterwards, one of the teachers asked me about my school, which made me realise that I was representing it now.

Once I had finished, I looked around the classroom. It carried the marks and memories of the students who had studied there before us. A note pinned to the soft board read, “Grade XI cannot function without the dose of Miss Tayyaba,” which instantly reminded me of my chemistry teacher. She was the dose our class needed to function too.

Then another invigilator walked in, and astonishingly, she looked exactly like my former class teacher. The college entrance exam brought back far more nostalgia than I had expected. Suddenly, I found myself wondering what it would be like to actually join this college. Would I miss my school life every single day?

I think every high school student has these questions. But that doesn’t mean college life is something to fear. Think of it like crop rotation. The seeds planted during your school years have now been harvested, and new ones are being sown to produce an even better harvest. In the same way, college brings new opportunities, valuable lessons and meaningful friendships that help you move forward, become more resilient and prepare for the future.

Published in Dawn, Young World, August 1st, 2026

The word Mukbang comes from Korea. It’s a mash-up of “meokneun” (eating) and “bangsong” (broadcast). It started around 2010, partly because eating alone was often seen as lonely or socially awkward, so people began broadcasting themselves eating just to feel less alone at the table.

Somewhere between then and now, it turned into one of the biggest trends on the internet. In which someone sits in front of a camera and eats an absurd amount of food, six bowls of noodles, forty dumplings, a tray full of fried meat or an entire fried chicken, with a mic taped near their mouth so viewers can hear every crunch and slurp.

Why do people even make these videos?

People who eat and make these videos are called mukbangers. Because food videos also do really well online, more and more creators keep jumping in to make money. But money isn’t the only reason here. Some experts believe that, for some creators, the camera can become a way to justify their unhealthy eating habits. They might eat a huge amount even when they’re not hungry, or keep eating way past the point of feeling full.

The unseen cost mukbagers pay!

Forcing the body to take in food that is impossible for a normal human body to consume in one sitting puts real strain on the digestive system. This is linked to acute gastric issues, ulcers, obesity, heart disease, Type 2 diabetes and in extreme cases, a stomach that literally tears from the pressure.

The problem doesn’t end there; there have also been reported cases of mukbang creators suffering serious health problems, and in a few documented cases, deaths linked to obesity or extreme eating habits have been reported.

Impact on people watching these videos:

There have been many studies, and one of which was specifically done on Gen Z viewers in Lahore, “Impact of Mukbang YouTube Videos on the Physical Well-Being of Youth in Lahore,” published in the Journal of Media and Entrepreneurial Studies (Superior University Lahore), has looked at what all this watching does to young people, and it’s not encouraging. Using Albert Bandura’s social learning theory, the same idea that explains why toddlers copy whatever the adults around them do — researchers found that viewers don’t just watch mukbang, they absorb it. This suggests that frequent viewers may gradually begin eating larger portions or eating beyond the point of feeling full without realising it.

Similarly, a study done in Turkey found regular viewers were more likely to lose control around food, eat out of emotion instead of hunger, then swing into strict dieting to compensate, basically bouncing between overeating and restriction on repeat. Another study done in South Korea found that the more they watched, the more they snacked, and the less likely they were to eat actual breakfast or dinner.

Watching someone enjoy a meal can activate some of the brain’s reward pathways associated with eating, which may temporarily reduce cravings for some people or increase them for others. Food sounds and the sight of eating light up the same reward centres in your brain that actual eating does. So when you watch a video of someone tearing into a whole roast chicken, get weirdly invested in whether they finish the bones, feel satisfied by the end of it, and then go open a bag of chips anyway, because your body never actually got fed, and then you feel hungry.

So, should you keep watching?

Not every internet trend is worth following. Mukbang videos may attract millions of views, but their popularity doesn’t make them healthy. Real trends inspire us to learn, create and be mentally healthy; they don’t encourage habits that put our mental and physical health at risk. So the next time a mukbang video appears on your screen, remember, just because something is viral doesn’t mean it’s worth following.

Published in Dawn, Young World, August 1st, 2026

Published in Dawn, Young World, August 1st, 2026

I was seated on a bench in my school, waiting for my father to pick me up.

“It makes me sad to think about the poor people in Gaza. People are dying of hunger,” Amna, who was sitting beside me, said seriously.

“Poverty is increasing day by day in the world, yet we are too busy with our own lives to notice or help others,” I remarked.

“Yeah… Oh! My father has arrived. Bye!” Amna said hastily, picked up her bag and left.

I sat there, lost in my thoughts. After a while, I got bored and began walking around the school grounds. It was hot and I wished time would pass more quickly, but a watched pot never boils.

Many girls were waiting nearby. I caught sight of my classmate, Hareem. Born with a silver spoon in her mouth, she loved showing off her possessions. I didn’t like her.

Whether she was in the classroom or on the playground, she always wanted everyone’s attention. She brought expensive things to school and showed it off so that others could admire them. She laughed so loudly that it seemed a person standing a kilometre away could hear her.

She was doing exactly that now.

“You know, my father bought me this fancy clipboard for only Rs10,000. Look at the glitter and liquid inside, and this beautiful scenery in the background. Don’t they look amazing? Quite cheap for something this beautiful, right?” she said proudly.

A few girls looked amazed, while others seemed jealous. They could do nothing except stare at her expensive belongings.

Hareem never seemed to care about other people. She kept talking until her driver arrived. Most of our classmates admired her, but a few, including me, felt sorry for her.

A little later, my father arrived. I greeted him and climbed onto the motorbike.

On the way home, I saw many poor people trying their best to earn a living. A street vendor was selling plastic bowls. If he returned home empty-handed, his family might sleep hungry, but if he earned even a little money, they would be overjoyed.

My heart felt heavy, yet I could do nothing. I saw another man pushing a cart full of snacks, hoping to make enough money for his family. People sat on the footpaths, waiting for someone to help them. At a traffic signal, vendors sold pens, dates, flower garlands and other small items. Their tired faces reflected quiet hope.

I handed a hundred-rupee note to a needy woman. At least I had helped one person, but it still didn’t feel like enough. What could Rs100 buy these days?

I saw young children collecting rubbish instead of going to school. They should have been sitting in classrooms, not searching through waste just to survive. Then there were janitors standing outside schools and shops in the sweltering heat. Were they even paid enough to support their families? The list went on and on, but would it ever end? Lost in these thoughts, we reached home.

The next day was bright and clear. I went to school with my siblings. During the lunch break, my friends and I heard loud laughter. Curious, we walked over and saw Hareem and her friends making fun of our classmate Zara because the lid of her water bottle was broken.

“Hareem, will you please stop?” I said. “How can you be so careless and heartless? Do you do anything other than insult people and show off your wealth? Look at the people on the streets struggling to survive while you spend money on unnecessary things. If you have more wool than a lamb, use it wisely. And always think before you speak. You never know what someone else is going through.”

Then I turned to the others.

“And I really question why you admire people who insult and disgrace others. What is the use of education if we cannot tell the difference between right and wrong?”

After saying that, I walked away with my friends. Hareem also left with hers.

After lunch, we were supposed to have mathematics, but our teacher was absent, so our class teacher came instead. Since she had already taught us earlier that day, she decided to have a discussion instead. She spoke about the suffering of innocent people caught in wars and conflicts, especially children who had lost their homes, schools and loved ones. She reminded us to pray for them and thank our Creator that we lived in a peaceful environment. Her words stayed with me long after the lesson ended.

A few days later, I was surprised to see Hareem apologising to Zara for her rude behaviour. Then she walked over to me, shook my hand and said, “I understand now. You weren’t wrong. I’ll try to become a better person.”

I smiled, and from that day onwards, we became friends.

The next day, we came up with a plan. Every month, we would contribute a small amount from our pocket money to help a needy family. We also shared our idea on social media and designed posters with slogans such as, “Children are meant to learn, not to earn!”

At the end of the month, we pooled our pocket money, placed it in an envelope along with some food items, and delivered it to a needy family we had chosen beforehand.

That was the beginning of a meaningful journey. Together, we pledged to continue helping those in need and work alongside charities and donation drives to support the poor in our country.

Published in Dawn, Young World, August 1st, 2026

Archaeologists in eastern Mexico have uncovered rare pre-Hispanic ruins dating from AD200 to 600.

The site includes a unique circular stone platform and a carved stone depicting figures with possible Mayan features, unlike anything previously discovered in the region.

Experts say the discovery could offer new clues about ancient Mayan influence and rituals. The Mexican government has pledged support for further excavation and restoration.

Rubik’s cubes solved while skydiving

A 24-year-old puzzle enthusiast has set a Guinness World Record by solving two Rubik’s cubes during a skydive from 13,000 feet over Oceanside, California.

It was Ishaan Hadkar’s first time skydiving, and his initial attempt ended when one of the cubes broke mid-air. Undeterred, he immediately made a second jump and successfully solved one cube during freefall and another after opening his parachute, earning the record for the most rotating puzzle cubes solved in a single skydive.

Hadkar said the windy conditions and freefall speeds of 120 mph made the challenge especially difficult.

Plant revives without water

Selaginella lepidophylla, commonly known as the resurrection plant, can survive for years without water by drying out almost completely and entering a dormant state.

Native to the Chihuahuan Desert, the plant curls into a ball and loses up to 95% of its water during periods of drought. When moisture returns, it can unfurl within hours, regain its green colour and resume normal growth.

Its remarkable survival ability comes from compounds that protect its cells during dehydration. During prolonged droughts, the plant can even detach from its roots and be carried by the wind in search of a more suitable environment. However, its resurrection ability is not unlimited and weakens over time.

Robin Hood’s ancient oak dies

The 1,200-year-old Major Oak in Sherwood Forest, believed to have sheltered the legendary Robin Hood, has died after failing to grow leaves this spring, conservationists said.

Experts believe millions of visitors compacted the soil around the tree over the years, making it difficult for water to reach its roots. Climate change, including heatwaves and drought, may also have contributed.

Protected since the 1970s, the famous oak will remain standing as a natural monument and continue to support the forest’s ecosystem, even in death.

Published in Dawn, Young World, August 1st, 2026

Netflix has released the first teaser for Lego One Piece, a two-part animated special that retells the live-action series’ first two seasons in Lego form. Narrated by Usopp, the story sees him recounting the Straw Hat crew’s adventures to Tony Tony Chopper, bringing a humorous new twist to the journey. The live-action cast, including Iñaki Godoy, Emily Rudd, Mackenyu, Taz Skylar and Jacob Romero, return to voice their characters. Written by Tom Hyndman, the special premieres on Sept. 29. Netflix is also developing One Piece Season 3 and The One Piece, a new anime adaptation of Eiichiro Oda’s manga.

Matt Damon praises stunt double

Canadian stunt performer Devyn Dalton has gained widespread attention after Matt Damon praised her work as his stunt double in The Odyssey. Standing 4 feet 6 inches tall, Dalton was chosen to double Damon during a forced-perspective scene, helping create the illusion of towering giants using practical effects. Damon later described her as having “the greatest arms” he had ever seen, bringing unexpected recognition to her years of behind-the-scenes work. A former child actor and motion-capture performer, Dalton said the role was the result of years of training and determination, adding that she hopes her story inspires others to believe that strength comes in all shapes and sizes.

Tyla gets her own Bratz doll

South African singer Tyla has become the latest celebrity to receive her own collectible Bratz doll. Inspired by her memorable 2024 Met Gala look, the doll recreates her custom Balmain gown and features her signature braided hairstyle, beauty mark, a mini TYLA album vinyl and a tiger accessory. Tyla, who had previously said she hoped to have her own Bratz doll, called the collaboration “a moment I’ll never forget.” The collectible launched on July 27, priced at $75, and is available through Bratz’s official website.

Published in Dawn, Young World, August 1st, 2026

Some stars become famous for a single role, while others earn admiration for their talent, hard work and authenticity. Hollywood star Zendaya belongs to the latter. Not only has she proven her worth as an actress, but she is also a singer, fashion icon and activist who continues to inspire millions around the world. A to Zendaya: A Celebration of a Pop Culture Icon is a tribute to Zendaya, who currently stars in two of the biggest blockbusters in theatres.

Written by Satu Hameenaho-Fox and illustrated by Sarah Madden, this book uses an easy-to-read A-to-Z format to highlight key moments from the actress’s life and career. Each letter spotlights a memorable achievement, personal interest or inspiring lesson, making it perfect for young fans and readers alike.

The alphabet begins with A for Anxiety, underscoring that even celebrities face personal struggles. B for Barbie Look celebrates her unforgettable fashion moments, while C for Colorism highlights her willingness to speak out about diversity and representation. Readers also recall her presence in blockbusters through D for Dune, H for Homecoming, and N for No Way Home, the last two being Spider-Man films in which she plays MJ.

The book also celebrates her achievements beyond acting. For example, ‘E’ for Emmy Winner highlights, while ‘I’ for Instagram with enormous global following. Readers learn about her love of painting, her work as a UN ambassador and a lot more.

The bright illustrations lend warmth and personality to every page, making the book visually appealing to younger readers. The bite-sized entries are easy to enjoy, whether you read the book cover to cover or simply dip into your favourite letters.

The timing of this book couldn’t have been any better since Zendaya is currently starring in both The Odyssey and Spider-Man: Brand New Day. Young readers who know her from today’s biggest films will enjoy following her journey from a Disney Channel favourite to one of Hollywood’s most respected performers.

Published in Dawn, Young World, August 1st, 2026

Let’s start:

1. Things you need

2. A-4-seized Colourful paper

3. Beads optional

4. Ribbon optional

5. Punching machine

Directions:

1. Cut a square from an A4-sized paper. The width of the square should be the same as the width of the sheet.

2. Fold the square in half diagonally, corner to corner, to form a triangle. Unfold and fold it again, corner to corner from the other side to set the crease; picture 2.

3. Open the paper flat again. Fold it in half edge-to-edge (not corner-to-corner) into a rectangle. You’ll now see the earlier diagonal creases running from the top corners down to meet at the bottom-centre of this rectangle; picture 3.

4. Using those diagonal creases as your guide, gently push the left and right sides inward. The paper naturally folds itself into a triangle shape, with the side sections tucking inside — creating the layered ‘upper and lower’ flaps you can see in this photo; picture 4.

5. Flatten the collapsed shape fully into a wide triangle. Take the small front tip at the bottom-centre and fold it upward, as shown — this tucks neatly against the front layer; picture 5.

6. Take the right corner of the front layer and fold it up and toward the centre, then fold it back slightly — this creates one tall pointed ‘ear.’ Repeat the same fold on the left corner; pictures 6 and 7.

7. Now both ears are folded up, and you can see the ‘W’ shape with the small triangle tip peeking out from between them at the base; picture 8.

8. Turn the whole model over and repeat steps 6–8 (fold both side corners up into points, then flatten) on this back layer too; picture 9.

9. Now both the front and back have matching tall pointed flaps and tapered sides — this is what gives the bag its shape; picture 10.

10. Fold both pointed ears inside towards the centre, so they lie flat against the top edge, picture 11.

11. Reach into the folded model from the top opening and gently push/spread the base outward and down, popping it into a 3D box shape with a flat bottom, just like in this photo; picture 12.

12. Punch a small hole through the two tall point flaps at the top (front and back), thread ribbon through, and tie a bow to hold the basket closed and finished; picture 13.

The writer can be contacted at ithecraftman@gmail.com

Published in Dawn, Young World, August 1st, 2026

Published in Dawn, Young World, August 1st, 2026

Published in Dawn, Young World, August 1st, 2026

Lack of libraries in Turbat

Through the esteemed column of Young World and the platform of Dawn, I would like to draw the attention of the concerned authorities to a serious problem — the lack of libraries in Turbat.

Although Turbat is the second-largest city in Balochistan, it has only one public library, which also lacks basic facilities such as electricity and drinking water.

During the summer, many students cannot study there because of the extreme heat, while others have to spend money buying water.

Every year, many students travel to other cities just to access better study resources, and those who cannot afford to do so discontinue their education.

The authorities should establish more public libraries and improve the existing one by ensuring electricity, clean drinking water and a comfortable study environment.

I hope my concern reaches the relevant authorities and that prompt action is taken.

Qamber Sharif,
Turbat

Becoming Dorothy

This is with reference to the story “Becoming Dorothy” by Hareem Yahya (YW, June 13).

The story showed that sometimes success comes after unexpected setbacks. I felt sorry for the character in the story when her marks were miscalculated, but I admired the way she stayed patient and made the most of the second chance she received.

Her journey from disappointment to playing the lead role of Dorothy was inspiring and proved that hard work never goes to waste.

Maham Ali,
Hyderabad

Fatherhood: the ultimate upgrade

This is regarding the cover article “Fatherhood: the ultimate upgrade” by Ambreen Arshad (YW, June 20).

I loved how the writer compared different generations of fathers to software updates. It made the article fun to read while also showing how parenting has changed over time. The article reminded readers to appreciate their fathers for the little things they do every day instead of comparing them to ideals shown in the movies.

Areeba Shaheen,
Peshawar

II

The cover article, “Fatherhood: the ultimate upgrade” by Ambreen Arshad, was really an interesting write-up. It didn’t judge fathers from older generations, but respected them while showing how parenting continues to evolve.

Muhammad Huzaifa,
Bahawalpur

Published in Dawn, Young World, August 1st, 2026

Spider-Man is one of the most relatable superheroes in the world. He struggles with problems at school and in life, yet balances them while also protecting his city and, subsequently, the world. He is an inspiration to children around the world, and that’s why it’s said that “Anyone can wear the mask.”

From Nicholas Hammond to Tom Holland, the web-slinger has had a rich cinematic history, with more to come. So, in honour of Spider-Man Day today, August 1, let’s take a look back at all of Spider-Man’s cinematic appearances.

Since his debut in June 1962’s Amazing Fantasy #15 (written by Stan Lee with art by Steve Ditko), Spider-Man has been protecting the neighbourhood and serving as an inspiration to many. Swinging from rooftops, he’s the hero who can relate to your problems because he probably faces them too. Over the years, generations of fans have followed Spider-Man across both film and television.

Following Spider-Man’s success in comics and the success of the Superman and Batman serials of the 1940s, a live-action Spider-Man series finally came to life in 1977 with The Amazing Spider-Man, starring Nicholas Hammond as the wall-crawler. The 13-episode series covered Spider-Man’s origin story, featuring minor villains in each episode, with J. Jonah Jameson serving as a constant obstacle.

It’s Spider-Man Day today! So, let’s celebrate the web-slinger who has inspired generations with his courage, humour and heart. Over the years, Spider-Man has leapt from comic books to television and blockbuster films, becoming one of the world’s most beloved superheroes. Join us as we revisit his unforgettable journey on screen

The pilot was released theatrically in some markets as Spider-Man (1977), and it later received two television film sequels in the form of Spider-Man Strikes Back (1978) and Spider-Man: The Dragon’s Challenge (1981), both compiled from two-part episodes of the series.

At the same time, a Spider-Man film was also being developed in Japan as a spin-off of the Japanese series Spider-Man (commonly referred to as Supaidman), which is known for its unique take on the wall-crawler, reimagining Spider-Man with a giant mech.

However, following the relative success of the Hammond films, no new Spider-Man films were released for quite some time, and it wasn’t for a lack of trying. Years of failed movie development, combined with Marvel’s growing financial troubles, eventually contributed to the company selling the film rights to some of its most popular characters, including Spider-Man.

Finally, after years of development hell, in 1999, a new Spider-Man reboot went into production, with acclaimed horror director Sam Raimi brought in to direct the next generation of the web-slinger. Soon, Tobey Maguire was cast as the titular character in 2002’s Spider-Man.

Spider-Man had a lot to live up to. Not only were there the classic Superman and Batman films, but just a few years before its release, 2000’s X-Men had revolutionised superhero movies for a new generation.

After X-Men set the bar, Spider-Man soon raised it even higher. Bringing a definitive adaptation of the wall-crawler’s origin, Raimi crafted a story focusing on Peter Parker’s struggles as he balances his life as Spider-Man. He faces scientist and businessman Norman Osborn (Willem Dafoe), whose experimental work transforms him into the Green Goblin.

Danny Elfman’s soaring score helped make the film feel mythic, as if superheroes truly existed. Upon its release, it was praised by both critics and audiences for its stunning visuals and memorable score. While breaking box office records, Spider-Man also earned Academy Award nominations for Best Visual Effects and Best Sound.

The success, however, was not unexpected, as a sequel had already been announced a month before the film’s release. Released in 2004, Spider-Man 2 brought back much of the same cast and crew. This time, Peter has to balance his studies with his life as a crime fighter.

He also has to deal with Dr Otto Octavius (Alfred Molina), who, after an experiment goes horribly wrong, is corrupted by his artificial intelligence-controlled mechanical arms, and Spider-Man must deal with the consequences. The bright and hopeful tone of the film helped cement it as one of the greatest superhero movies ever made.

Winning the Academy Award for Best Visual Effects, it was clear that the franchise was loved by both critics and fans. A third film soon followed in the form of 2007’s Spider-Man 3. This was the most ambitious instalment of the trilogy, trying to balance multiple threats alongside Peter’s relationship with Mary Jane Watson (Kirsten Dunst).

When an alien symbiote bonds with Spider-Man, his anger is amplified. He then finds himself facing Flint Marko, the Sandman (Thomas Haden Church). Peter also faces competition at the Daily Bugle from rival photographer Eddie Brock (Topher Grace).

Although Spider-Man 3 received mixed reviews and the planned sequel was cancelled, the trilogy as a whole is still remembered for giving us one of the best adaptations of the wall-crawler on the big screen. When the franchise was rebooted, director Marc Webb took the helm, with Andrew Garfield cast as Peter Parker in 2012’s The Amazing Spider-Man.

Once again, the film revisits Spider-Man’s origin, but this time places greater emphasis on his parents. A friend of his father’s, Dr Curt Connors (Rhys Ifans), is a scientist at Oscorp who, following a failed experiment, transforms into the Lizard, leaving Spider-Man to save the day.

The film took a more grounded approach to Spider-Man, in keeping with the trend of the 2010s, resulting in a darker take on the character. This was reflected in James Horner’s score, which felt heroic and grand without becoming overly dramatic. The film received generally positive reviews and, thanks to its strong box office performance, was followed by The Amazing Spider-Man 2 in 2014.

This time, Spider-Man faced the combined threats of Electro (Jamie Foxx) and his friend Harry Osborn (Dane DeHaan), who were out for revenge. Peter juggled multiple threats while also protecting his girlfriend, Gwen Stacy (Emma Stone).

While the Webb films were emotional, they were not as bright and hopeful as many fans had come to expect from the character. Ultimately, the sequel struggled for some of the same reasons as Spider-Man 3, trying to do too much while setting up an expanded universe similar to Marvel Studios’ MCU. This led Sony and Marvel Studios to bring Spider-Man into the Marvel Cinematic Universe, with Tom Holland cast as the web-slinger.

He debuted in the MCU in 2016’s Captain America: Civil War, where Iron Man (Robert Downey Jr) recruits him to his team against Captain America (Chris Evans). Spider-Man made an iconic debut, swinging into action and stealing the show. Soon, he starred in his own solo film, 2017’s Spider-Man: Homecoming, with Jon Watts directing.

Adrian Toomes (Michael Keaton) leads a gang using alien technology to carry out robberies, and the friendly neighbourhood Spider-Man must step in to stop them.

The film returns Peter to high school, where he is still a small-scale hero under Iron Man’s mentorship. Michael Giacchino’s upbeat, energetic score reinforces the fact that this Spider-Man is still a teenager.

With this hopeful new interpretation of the wall-crawler winning over audiences, it was inevitable that Spider-Man would appear in more team-up films. In 2018’s Avengers: Infinity War, he joins Iron Man and Doctor Strange in battling the Mad Titan Thanos. When they are overpowered, they must seek help in space.

Spider-Man returned in the sequel, Avengers: Endgame (2019), where he joins the rest of the Avengers to defeat Thanos once and for all. Afterwards, he deals with a devastating loss in 2019’s Spider-Man: Far From Home.

The film explores the aftermath of Avengers: Endgame and how the world is adapting. While on a school trip, Peter and his friends are saved by a new superhero, Mysterio (Jake Gyllenhaal), but things are not as they seem.

This time, Peter steps into a larger role as a true Avenger, with Michael Giacchino’s score reflecting his growth. Following the film’s success and its shocking ending, a sequel was inevitable. It arrived in the form of 2021’s Spider-Man: No Way Home.

After Peter’s identity is revealed, he turns to Doctor Strange (Benedict Cumberbatch) to undo the damage. But when the spell goes wrong, Peter finds himself facing threats from across the multiverse.

Despite the pandemic, No Way Home earned nearly $2 billion at the worldwide box office and became a cultural phenomenon. After such universe-spanning stakes, however, many fans wanted Spider-Man to return to protecting his friendly neighbourhood.

The next chapter will be Spider-Man: Brand New Day, directed by Shang-Chi’s Destin Daniel Cretton. The film is expected to follow an older, more mature Peter Parker in a more street-level story, returning the character to his neighbourhood roots.

Over the decades, the tone of Spider-Man’s films has shifted from the heartfelt coming-of-age stories of the 2000s to the grounded realism of the 2010s, before expanding into globe-spanning adventures with the Avengers and now returning to his neighbourhood roots.

As the years go on, Spider-Man will continue to inspire generations of children and adults alike, through his courage, compassion and unwavering sense of responsibility.

Published in Dawn, Young World, August 1st, 2026

This is the first scene of Bombay Tailors (BT), which has just started to air on Hum TV, and it works well in building expectations and setting the scene. At a time when sprawling mansions and rich, suited heroes flanked by bodyguards often dominate the local drama-scape, BT opts for nostalgia and old-world charm — crowded lanes, stall owners calling out to passers-by as they try to sell them their wares and rustic chai dhaabas [roadside tea stalls].

The titular tailoring shop is nestled in one of these streets. It is a longstanding relic with a board outside that proudly proclaims that it has been in business since 1942. The shop’s name has been written in the Hindi script, further emphasising its pre-Partition origins. The shop’s floor has a black-and-white parquet-style pattern, the walls are lined with weathered shelves crammed with fabric, and the doorway is pillared and aged.

These details in the initial episodes of the drama — and there are many more, such as the beautiful, old-world homes in which our primary characters live — form a compelling backdrop to the story, which is only just beginning to unfold.

A crumbling tailoring shop in old Karachi. A young man wanting to break free of family expectations. A young woman making content for social media. Director Mazhar Moin’s new prime time serial stitches family drama with social controversies around social media, generational conflict and changing Gen-Z aspirations

It is often said that all stories around the world are stitched from the same fabric, only rendered unique by the way in which they are narrated. BT, like many other serials, is, in essence, a family drama that is packed with the usual emotional ingredients as well as some unusual elements.

We will, most probably, encounter patriarchal mindsets, cultural restrictions and the highs and lows of a joint family system. There will be tears, emotional blackmail and heated arguments that will result in someone storming out. Icon has learnt, though, that there is more to the story than meets the eye.

Cut From The Same Cloth?

Upon meeting the drama’s lead actors, Ali Ansari and Anika Zulfikar, they tell me that they are hooked to the script.

“We had so much fun reading the script,” says Anika.

Have they read the whole script? Or, as is the case quite often in the local drama industry, are the later episodes being written while they are shooting?

“We received about 65 percent of the script and now, with every new episode that we get to read, we get really excited about what will happen next,” says Ali.

Anika adds, “We are reading it for the sake of reading. It’s not just because we are acting in the drama, it’s because we really want to know the rest of the story!”

BT follows dramas in which both actors have received critical or commercial acclaim. Ali was previously seen in Muamma, in which his performance was widely appreciated. Anika delivered a commercial hit in which she had a double role — Ishq Mein Tere Sadqay (IMTS). Was there pressure to ensure that this latest project would be as successful?

“My character in Muamma was very different,” muses Ali. “Saifi [the name of his character in BT] is a man who is struggling to be accepted for who he is and is in search of validation. His family has a traditional mindset and wants him to join the family’s tailoring business. They discourage him from following his dreams, and the way he struggles is visible even in his body language. He is an interesting character. Furthermore, the story, the pace and the overall characterisations are very good.”

A STITCH IN TIME

The drama is being aired during the coveted 8:00pm prime time slot, I point out. Ali has, of course, acted in top-rated soaps that have aired at 9:00pm, making it to what is often referred to as the ‘billion views club’ in industry circles. However, he has lately been very vocal about wanting to aim for projects solely reserved for the 8:00pm slot.

“Given the norms in our industry,” he asserts, “the time slot really matters.”

Anika’s IMTS was a big commercial hit, airing at 9:00pm. Does she have similar concerns regarding drama time slots?

“I think it does matter, although you never know what the audience will like,” says Anika. “Until the time that it started airing, we had assumed that [IMTS] would be slotted at 8pm. I was a bit dejected at first when it started airing daily at 9pm during Ramazan, but then it worked out because the audience became invested in the story. It really worked for the channel, too, because Geo Entertainment had not come up with a typical Ramazan drama, and was airing this one daily instead.”

She goes on: “For me, as a new actor, the challenge was that, even though it was a hit, it aired just for a month. I didn’t get the time to fully experience how working in the drama had helped me grow as an actor.

“Also, I would go through this weird existential crisis while shooting certain scenes. I felt that I could not justify investing so much of my life, working 12 hours a day, into a story that I often did not agree with. Of course, as a new actor, I cannot be too picky, but I do want to focus more on stories that I care about.”

There are contemporary, Gen-Z elements in this drama that I feel are important and will connect with the audience. There are always certain topics that become a ‘trend’ in dramas, with multiple productions investing in stories revolving around them. From that perspective, this drama could prove to be a game-changer,” says Ali Ansari

Tailoring Digital Dreams

And is BT one such story?

“It’s not your typical run-of-the-mill drama at all,” says Ali. “The tailoring business is part of Saifi’s family legacy, but why does his family consider it compulsory that he, too, becomes a tailor? He feels stuck and social media provides him with a new avenue that he can explore.

“There are contemporary, Gen-Z elements in this drama that I feel are important and will connect with the audience. There are always certain topics that become a ‘trend’ in dramas, with multiple productions investing in stories revolving around them. From that perspective, this drama could prove to be a game-changer.”

And what particular topic does BT tackle?

“Social media,” replies Anika. “The character that I play, Mahrukh, has her own YouTube channel, in which she doesn’t show her face, but puts out content that is growing in popularity. Her channel has even been monetised. Her problem is that while her father loves her, he is very strict and believes that social media is the root of all evil.

“It’s interesting how the writer, Amtul Shahida, has sympathised with various opinions that people have, neither demonising people who pursue careers in social media and nor those who think that it is wrong.”

Ali elaborates, “The story also addresses generational gaps. Our parents and grandparents may have a completely different mindset towards work, while today’s generation is open to exploring opportunities in digital avenues. Once Mahrukh and Saifi get together and break through the barriers placed upon them by their families, the drama gets really interesting.”

Can we expect romantic chemistry? “It’s more like a partnership,” reflects Anika.

“Like two friends, making content together,” chimes in Ali. “Saifi and Mahrukh never wanted to be in each other’s lives. They are an unlikely match but, once life throws them together, they build a relationship based on trust, understanding and respect. It’s not your typical romance.”

In fact, a cursory glance at BT’s ensemble cast implies that romance simply is only a single piece of the overall pattern. With seasoned performers such as Sania Saeed, Ali Tahir, Tanveer Ahmed, Ali Safina and Dania Enwer on board as well, one expects the family members of Saifi and Mahrukh to explore their journeys during the course of the serial.

Draped In A New Look

The drama’s director, Mazhar Moin, elaborates about the cast: “It is relatively large and what is great is that everyone is intent on delivering their 100 percent. I didn’t encounter any time-related issues or tantrums. Everyone just wanted to do their best.

“All the characters are essential to the story, which is largely based on generational gaps and mindsets. Sania Saeed, for instance, is not the kind of artist who would sign on for just any role. As the story evolves, the audience will see her evolve from a quiet, submissive woman to a confident one, with a strong voice of her own.”

He continues: “Both Ali and Anika were great choices as leads. Anika is relatively new and she is very passionate about building her career. Ali, too, is inclined towards trying out roles that are different.”

BT has been produced by Moomal Shunaid Productions and MD Productions for Hum TV. “For this project, we wanted to introduce a fresh, young and talented cast that would bring authenticity to the screen,” the drama’s producer, Moomal Shunaid tells me. “We also wanted to launch a new on-screen pair that audiences could connect with and enjoy watching. The cast was also chosen because each actor was the right fit for their respective character, and could naturally portray the emotions required in the story.”

I tell the director that the drama’s ambience — Mahrukh’s beautiful home with its old furniture and stained-glass windows, and the nooks and crannies of Empress Market — are characters in themselves and contribute to the story. He agrees.

“The ambience adds to the audience’s understanding of the characters,” he says. “Where do they live? What are their interests?” He adds another revelation: “The furniture that you see in Mahrukh’s home is all my own. I collect Burma teak furniture pieces. I feel that they really add character to the set.”

The first few ‘stitches’ — episodes — of BT have been paced well. The measuring tapes, scissors and sewing machines have been established as the backdrop to a new-age narrative on social media.

And with the cast eagerly vouching for the narrative and the director intent on exploring new locations — they recently shot in the marshlands near Karachi’s shoreline and the crowded Sea View road on Saturday night! — one has high hopes that this will be a well-tailored story.

The writer is a fashion and entertainment journalist with over two decades of experience. She can be reached at maliharehman1@gmail.com

Published in Dawn, ICON, July 26th, 2026

“Nadia Khan desperately needs to see a psychiatrist. Her terrible acting ruined one of the dramas I had written, and now she has the gall to judge others’ acting skills, ridiculing them rather than offering constructive criticism. Think of it like a monkey with a matchstick.”

— Saima Akram Chaudhry, screenwriter

“Saima Akram Chaudhry told me to see a psychiatrist so I did! Diagnosed with a severe case of ‘truth syndrome’ — aka practising free speech and calling out bad writing. There’s no cure for my honesty, but there is a prevention for you: write better scripts and fix your production errors.”

— Nadia Khan, TV host, actor and drama critic

“Indians don’t want our content to be available on Netflix.”

— Faysal Quraishi, actor

“Netflix approached ARY to give them content, but we refused.”

— Salman Iqbal, President and CEO of the ARY Digital Network

Published in Dawn, ICON, July 26th, 2026

A few months ago, a documentary titled The Colour of My Heart [Rang Hai Dil Ka Mere], based on the life and work of the late Zia Mohyeddin, the legendary artist and the founder of the National Academy of Performing Arts (Napa), received rave reviews from Pakistani critics and cine-goers alike. The project, which was produced by Umar Riaz, has now been selected to be screened at the Asian American International Film Festival (July 30 to August 9) in New York. We know it took Umar R 15 years to complete the film and the result shows that hard work pays off. Congratulations to him and his team!

Streaming Dreams

To provide Pakistani dramas and films a global platform, the government of Pakistan has started to talk to streaming giants such as Netflix to see what possibilities can be explored. This was stated on X by the Federal Minister for Planning, Ahsan Iqbal. He wrote: “Pakistani dramas and films are second to none, commanding immense demand and heartfelt appreciation across the globe. Under our Uraan Pakistan export endeavours, the creative and cultural industry stands as a vital cornerstone for our national export strategy. While major OTT platforms like Netflix and Amazon Prime are critical gateways to the global audience, they have unfortunately been weaponised by regional politics for too long, denying Pakistani content its rightful due space.” Let’s see if action follows talk.

Young Talent

Indian film legend Amitabh Bachchan has followed the recently held Fifa World Cup zealously. He is super-impressed by young, talented soccer players — so much so that he even wrote a blog on the topic! He wrote: “The evolution of fresh talent and guile emerges in each World Cup — at the ages of 17 and 18, we learn, are youngsters representing an entire nation. What were you doing when you were that age is what we ask each other and lament the fact that we were never like them.” That’s true, sir. After all, your first successful film was Zanjeer, which came out when you were 31!

Proud Parent

Adnan Siddiqui’s daughter Maryam has recently graduated from university and he is a super-proud dad. As he should be. Gushing with emotion, the actor wrote a detailed post for her on Instagram, saying the person that Maryam has become is his greatest reward. He had advice for parents as well: “Don’t just invest in your children’s education, invest in their character. Degrees open doors, but humility, compassion and integrity will determine how far they go.” Wise words indeed.

Chips Ahoy!

Christopher Nolan’s eagerly awaited film The Odyssey is out. Charlize Theron essays the role of Calypso in it, a character who traps Odysseus (played by Matt Damon) in a trance. When asked by an interviewer what would happen if she were trapped in a trance, the actress replied: “Oh, potato chips, I’m in. Bring me some. But I want flavoured potato chips. Americans with just the salt and the oil? No. I want chutney and ketchup and beef stew and all of that.” We’re not quite sure what happened there with that question but if only Odysseus had known about Calypso’s real obsessions.

Katie and The Artist

Who is Katie Holmes seeing these days? Well, the question would have been difficult to answer until two weeks ago, but not anymore. The Dawson’s Creek star and former wife of Tom Cruise went to the premiere of The Invite, directed by actress Olivia Wilde, in New York holding hands with Jason Bard Yarmosky, an artist of considerable merit from the Big Apple. He is nine years younger than Katie H, which doesn’t matter — as long as he paints her a rosy picture of the world.

Published in Dawn, ICON, July 26th, 2026

The question does not apply equally to adaptations and remakes.

Adaptations can be from a myriad of sources: books, articles, short stories, real-life events — each domain carrying its own particularities that clash with the medium of film and its own constraints. Remakes are new versions of older films, and if Disney has taught us anything, they’re more or less a copy-paste job.

The list is maddening: 101 Dalmatians (1996), Alice in Wonderland (2010), Maleficent (2014), Cinderella (2015), The Jungle Book (2016), Beauty and the Beast (2017), Aladdin (2019), Dumbo (2019), The Lion King (2019), Lady and the Tramp (2019), Mulan (2020), Cruella (2021), Pinocchio (2022), The Little Mermaid (2023), Snow White (2025), Lilo & Stitch (2025), and now Moana.

Disney’s live-action Moana faithfully recreates the 2016 animated hit, but offers little reason for its own existence

Some I’ve seen, most I’ve ignored, a few I’d forgotten even existed, but most (with the exception of Alice in Wonderland and Maleficent) should not have been made at all.

I mean, what’s there to appreciate when the exact story beats, the exact frames and the exact acting cues — yet somehow, with a slightly slower pace and a little longer runtime (animated films are designed to move faster and snappier) — are revisited?

So, what’s the appeal here? Especially when the original — in the case of Moana — came out exactly 10 years ago? That’s not really a long time. Especially when you have the main co-lead returning.

In case there’s any mystery (and there isn’t), the returner is Dwayne ‘The Rock’ Johnson, the original voice of the animated, full-of-himself demigod Maui, who is stranded on a tiny island. Where Maui was animated, The Rock mostly plays a rock. The stiffness, an added layer of seriousness, though not a bad thing in the right context, does not help the character or the performance.

Moana (Catherine Laga’aia, not as good as her animated counterpart), the young daughter of her tribe’s chief (John Tui), rescues Maui after leaving her island. She, like everyone there, was forbidden to leave their perfect island life. But the call of the sea, and the water’s enchanted beckoning (a magical wave of the sea calls and guides her), is too much to ignore.

Her quest is twofold: find a way to calm Te Fiti’s violent anger — Te Fiti is a living island that brought life to the ocean — by returning her heart, and to end every island tribe’s fear of oceanic exploration.

It’s a noble cause that we’ve seen before, with the same cast (Jemaine Clement returns as the voice of Tamatoa, the giant crab), the songs (by Lin-Manuel Miranda and Opetaia Foa’i, returning), the same screenplay (screenwriter Jared Bush returns with Moana 2’s co-director Dana Ledoux Miller, now co-writing) and much the same direction (Thomas Kail, the director of stage musical Hamilton, in his live-action debut).

Direction, mind you, that feels as if one is playing and pausing scenes from the original before shouting: ‘Lights. Camera. Action!’

Released by HKC and Disney, Moana is rated PG. Parents have no need for caution: the few minutes of scares by Te Fiti aren’t even as scary as those in the animated film

The writer is Icon’s primary film reviewer

Published in Dawn, ICON, July 26th, 2026

The horror series Evil Dead, first brought to the screen in 1981 by director Sam Raimi, is in its healthiest state for decades.

The 2023 film Evil Dead Rise was a financial success and 2026 will prove to be a huge year for the franchise with the release of the new film Evil Dead Burn. The next film, Evil Dead Wrath, is already in post-production and due for release in 2028.

Yet, like any successful franchise, Evil Dead has always been bigger than just films. It has appeared in a variety of media forms including video games, comic books, television series and board games.

This is not uncommon for a franchise and is often part of what researcher Henry Jenkins termed a transmedia storytelling strategy. The fundamental idea of this strategy is that one singular story is told over multiple different media forms. These integrated narratives can be seen in contemporary franchises such as the Matrix or the Marvel Cinematic Universe.

With Evil Dead Burn now in cinemas, the long-running horror franchise is finally stitching its tangled timelines into a shared universe

However, while Evil Dead has certainly appeared across different media forms, it has lacked a sense of a singular narrative. As a result, there are several narrative inconsistencies seen throughout the series, with scenes from previous movies reshot, recontextualised or erased from the narrative entirely in later entries.

This lack of a unified story ultimately comes down to the creative and financial realities of the Evil Dead’s series origins. The first film, The Evil Dead, was a low-budget horror, made by a group of friends with no aspirations of building a huge media franchise. It took six years for a sequel to be made. That sequel was produced by a different company entirely, meaning that even if the filmmakers had wanted to reference the first film, they legally could not.

For decades, the crucial unifying component of the Evil Dead series has been Bruce Campbell’s portrayal of Ash Williams, the protagonist across the original film trilogy. The cult fandom of Campbell in this role has powered the series for most of its existence — Campbell became synonymous with the Evil Dead franchise.

Campbell has reprised his role across multiple different media platforms. Though these contain the character of Ash, they are entirely incoherent as a singular narrative, often contradicting or erasing different entries to tell their specific story. While Ash seems to act as a signifier for an ‘authentic’ Evil Dead entry, his appearances do not seem to delineate which entries in the series can be seen as part of a coherent transmedia fictional universe.

This decision to foreground an actor and character as the foundation of a franchise could now be problematic, as Campbell announced his retirement from playing Ash in live action after the cancellation of the television series Ash vs The Evil Dead in 2018.

This left the franchise in flux. How do you move forward with Evil Dead when the main character is removed?

UNIFYING A FRACTURED FRANCHISE

The promotional material around the release of Evil Dead Rise suggested a new franchise strategy that looked to the original trilogy for inspiration.

In the third Evil Dead film, Army of Darkness (1993), Ash is sent on a quest to retrieve the Necronomicon, a cursed book that has unleashed evil across the previous films. As Ash approaches the book, he sees that there are three on the podium. The two other books ultimately act as decoys, resulting in a slapstick sequence where Ash is repeatedly attacked by the decoy books.

Although this scene is short and played for laughs, for the promotion of Evil Dead Rise, Campbell (a producer as well as the series’ former star) highlights it as centrally important to the franchise’s future. In an interview with Collider in 2023, Campbell suggested a new key focus — the Necronomicon. Campbell noted that “the only thing that connects everything now is the book. There are three of these books out there… So, this story is really ‘where is the book now?’”

This discourse surrounding the importance of the three books was also echoed by the director of Evil Dead Rise, Lee Cronin, who made it a central part of his pitch to producers, as a way of opening up “multiple avenues for where Evil Dead can go.”

His pitch, that Sam Raimi’s original trilogy featured one book, the 2013 remake featured another and his film would feature the third book, retroactively unified the Evil Dead narrative on-screen, putting it more in line with contemporary franchises that engage with transmedia storytelling.

Specifically, the 2013 Evil Dead — developed and produced as a remake at the time of its release — was folded into continuity and, as a result, became part of the fictional world of the original films. By merging these supposedly disparate parts of the series into one continuity, Evil Dead Rise (or specifically the promotional discourse around it) brought the franchise closer to Jenkins’ idea of a transmedia storytelling strategy.

While Campbell will continue to be an active part of Evil Dead as a producer (and even has a voice cameo in Evil Dead Rise), this new emphasis on the fictional world of the series presents new avenues of continuity and expansion. It will be fascinating to see how Evil Dead Burn, a new chapter in the 45-year-old franchise, responds to this new strategy.

The writer is Assistant Professor of Film and Screen Studies at the University of Nottingham in the UK

Republished from The Conversation

Published in Dawn, ICON, July 26th, 2026

Aap Ki Izzat | Hum TV, Fri-Sat 8.00pm

Another day, another mazlo­om aurat [oppre­ssed woman] story from the pen of Umera Ahmed. After Kafeel, the writer is back to remind us that happiness is fleeting and men are generally terrible.

Beena (Urwa Hocane) has been slowly sliding into irrelevance: her educated children find her to be conservative and restrictive, while her ageing mother-in-law uses her but still resents her. The most painful aspect is the dismissive, degrading treatment she receives from Tabish (Ahsan Khan), the man who once begged her to marry him.

Urwa Hocane is a good actress and very relatable as a simple woman who is unimpressed by the wealth that has changed her husband’s kind nature. However, her character, Beena, is underwritten as a generic housewife figure who blinks and smiles while suffering every micro-repression and humiliation. Ahsan Khan transitions between a lovestruck young man and a manipulative, would-be politician having an affair with polished ease. Another strong performance comes from Sania Saeed, as the mother-in-law who still cannot find empathy for her obedient daughter-in-law. From the teasers we see that Beena is friendly with a young fruit seller, Behram (Saif Ali Khan), and it seems that her journey to self-actualisation may begin with him.

Dr Bahu | ARY Digital, Fri-Sat 8.00pm

After the death of his wife Dr Farheen (Saba Hameed), the powerful and manipulative Dr Shahnawaz (Shahzad Nawaz) is left isolated, facing the consequences of his actions. The actor gives a memorable performance as the arrogant patriarch who dominates everyone’s lives. As the story reels in the different tracks, it illustrates the difficulties faced by women who want to practise medicine.

Dr Mina (Hajra Yamin) mourns her infertility, but she has the career that a pregnant Dr Saniya (Kubra Khan) yearns for. In a curious twist, the biggest winner is Dr Amber (Mira Sethi), who had an adulterous affair with Faizan (Adeel Hussain) despite having an established career and marries him. Dr Saniya (Kubra Khan) faces the dilemma of sacrificing or at least delaying the progression of her career as a surgeon because of her risky pregnancy and her husband Salman’s (Shuja Asad) fears.

A talented doctor and potential surgeon is shown literally begging her husband to allow her to complete her course after her baby is born. Shuja Asad provides us with another good performance as a man who has become exactly what he hated about his father.

Bombay Tailors | Hum TV, Mon-Tues 8.00pm

Saifi (Ali Ansari) doesn’t want to be a tailor like his father and grandfather, and Mahrukh (Anika Zulfikar) wants to be a social media star. This rebellious attitude makes them the bane of their parents’ existence but, instead of understanding their feelings, their parents think a forced marriage is the answer. Exhausted by their parents’ criticism and policing, both accept the arrangement to buy some time and, possibly, some freedom. If this sounds like a Ramazan rom-com, it is not. Instead, it is a light take on some serious contemporary issues and the generation gap.

Writer Amtul Shahida’s script is a safe and traditional take on a partnership borne of circumstance and family pressure. There is some hope for innovation if we see writer Adeel Afzal’s name added to the project, who seems to have collaborated on this project.

A versatile actor, Ali Ansari switches easily into the role of an urban hustler and frustrated younger son. After the success of her Ramazan serial, Ishq Mein Tere Sadqay, Anika Zulfikar has established herself as a good actress, and proves it again in this show. Boosting the show’s credentials are other great performers, such as Ali Safina and Dania Enver.

What To Watch Out For (Or Not)

Dar-i-Nijaat | ARY Digital, Coming soon

Sheheryar Munawar, Nameer Khan and Durefishan Saleem star in an intense story that questions a woman’s past relationships.

Published in Dawn, ICON, July 26th, 2026

An outing to the cinema isn’t just about seeing a movie, it is a full sensory experience, with a big screen and big snacks.

An epic film demands the panoramic widescreen, thunderous surround sound, embarrassingly large boxes of lollies and giant buckets of popcorn that never taste the same at home.

Throughout the history of cinema, however, popcorn has been both scorned as a messy lowbrow distraction and hailed as a profit-making saviour for a floundering film industry.

Popcorn as an ancient snack food

Popcorn is one of the oldest foods we still consume as a snack, with archaeological evidence from Peru, circa 6,700 years ago.

Bernabé Cobo, a Jesuit missionary in Peru in the early 17th century, observed popcorn being made by the local people, toasted until it burst — eaten as a confection called Pisancalla.

From ancient Peru to modern multiplexes, popcorn has had a surprising and remarkable history. Here’s a look at some of the snacks that have now become inseparable from the cinema experience…

French explorers in the Great Lakes region of North America in 1612 saw the Iroquois people heating corn kernels in a clay pot filled with hot sand until they popped — and added them to soup.

Colonists adopted the practice in the Americas, either using an enclosed wire mesh basket over open flame, or a horizontally mounted thin metal cylinder, turned with a hand crank in front of a fireplace.

First bites at the fairground

In 1885, a new steam-powered automatic popcorn machine was invented in Chicago by Charles Cretors, cooking kernels in a combination of vegetable oil and animal fat.

He exhibited his invention at the World’s Fair in Chicago in 1893 and, by 1900, he had switched to electricity and machines shifted from street carts to shops.

Popcorn and peanuts were already popular at fairgrounds when moving pictures joined the line-up of entertainments on offer, and the snacks followed the audience into the theatre.

The cinema developed from fairground attraction to a destination in its own right in 1896. Nickelodeons (a nickel for admission, and ‘odeon’ means theatre in Greek), or ‘penny gaffs’ in Britain, offered inexpensive viewing venues. By the 1920s, owners tried to establish film theatres as more refined spaces, ‘movie palaces’ with carpets and furnishings normally associated with highbrow entertainment.

Patrons munching on popcorn or peanuts did not match the sophisticated ambience of the new architecturally designed spaces. The noisy crunch of snacks also interfered with watching a silent film.

An affordable luxury

In 1927, the first motion picture with sound, The Jazz Singer, opened in New York. ‘Talkies’ revived the movie business, and popcorn was less of a noisy distraction with a film’s soundtrack.

The Great Depression in the 1930s meant many luxuries were beyond the reach of most people, but a movie ticket was still affordable and a five-cent bag of popcorn drew audiences into the theatres, boosting sales. Initially, cinema owners leased space in the lobby or outside to vendors, until they realised that the profit margin for popcorn was over 70 percent.

During the Second World War, rationing of sugar meant that many types of candy were not available, or became expensive. Popcorn was a cheap substitute and consumption went up 300 percent.

Popcorn’s sidekicks

Popcorn in the cinema is popular around the world, with a sweet and savoury divide, often drawing on local flavours.

Spicy masala blends are popular in India; Japanese popcorn may include bits of umami-rich seaweed; caramel popcorn dominates the Chinese market. And while popcorn is clearly a main character, ice cream is a trusty sidekick in the movie snack combo.

In Australian cinemas in the 1930s, ‘ice cream matinees’ gave a free ice cream ‘bucket’ to each child attending. In addition to these cups of ice cream, ‘Eskimo pies’ — chocolate-coated blocks of ice cream — were a popular treat served from trays by usherettes strolling through the aisles of the theatre at the interval. Ice cream cones dipped in a hard chocolate coating debuted in Australia in the 1940s, but did not appear in movie theatres until the early 1980s.

The choc top remains an essential item for moviegoers in Australia and Aotearoa New Zealand, but it is unknown beyond Australasia. Some local offerings, however, are not just variations on familiar favourites.

Salty Dutch liquorice is a sweet-meets-savoury taste that not everyone acquires, but roasted ants in Colombia are a next-level delicacy at the movies.

Hormigas culonas (translated literally as big-bottomed ant) are a species of leaf-cutter ant, Atta laevigata. In Colombia’s Santander region, the ants are a luxury item, the caviar of Colombia. The legs and wings of the queen ants are removed, and the bodies are roasted to create a crunchy, high-protein food offering as much adventure in your snack as on the screen.

But whether it be popcorn or ants, the food we eat in the dark while we watch a movie is an essential element of attending the cinema for many people. The aroma of the butter topping and the crunch of the choc top are sensory experiences that, like the big screen, just aren’t the same at home.

The writer is Lecturer in History at the University of Waikato in New Zealand
Republished from The Conversation

Published in Dawn, ICON, July 26th, 2026

If anything, he just might “wanna do somethin’ ’bout it.” Fed up with entertaining hordes of rowdy, drunk, well-fed suitors, Telemachus whispers to his mother, Penelope (Anne Hathaway), the queen of Ithaca, that at the very least he “wanna” remind them whose wine they’re drinking.

Telemachus’ father, King Odysseus, aka Ulysses — the Latin name of Odysseus (Matt Damon) — has been away for a decade, fighting — and winning — the Trojan War. Angering the Greek gods, he is cursed to be lost at sea. The people of the kingdom, and those partying in his house, do not know this. By law, Penelope is duty-bound to remarry, ergo the drinking and the suitors.

Antinous (an excellent Robert Pattinson), despicability oozing out of his every motion, tells Telemachus, “You’re pining for a daddy you didn’t even know,” effectively rolling together modern-day language and absentee-father traumas into one powerful gut punch… for the audience. Suffice to say that the visuals of 1200 BCE do not sit well with the 21st-century common era language, or the old school filmmaking.

In writer-producer-director Christopher Nolan’s The Odyssey, the talent, the effort and the scale are very much on-screen, as are the usual directorial preferences that make and break the film

For a film that seemingly looks like it was made in old-school ways, one would be a fool to think that writer, producer and director Christopher Nolan is an old-school filmmaker. One could argue that he clings to conventions such as wearing suits to sets like old Hollywood directors did. Or that, like the greats, he hauls impossibly bulky equipment to locations (though the greats didn’t have the luxury of today’s advanced miniaturised technology). Or that he is adamant about sticking to difficult technology, such as shooting on 70mm film (beautifully shot by Hoyte van Hoytema), just so it can be flaunted during publicity that something miraculous and pristine has been done with — and for — the medium of film and cinema.

But Nolan is, without a doubt, a filmmaker of today — celebrated and heralded as a once-in-a-lifetime genius. However, with that declaration come caveats. Things go to your head.

His Odyssey isn’t ground-breaking, and while it’s not at all as bad as people make it out to be, it has the usual Nolan hitches. The mix of Foley sound effects drowns out the dialogue. The very Nolan-esque past-and-present intercuts — he still prefers to make things ‘interesting’ by shoving linearity out the window — is not a good call every time. Shooting everything with beautiful open vistas (even his indoor sets are shot with grand depth and dimension) coupled with the seriousness of the performances — everyone is mighty serious all the time — guts every ounce of emotion one should be feeling for the characters.

Then there’s the casting, which triggered a lot of hullabaloo. At times, that’s not as big of an issue. ‘At times’ meaning: there’s still doubt. Himesh Patel does not fit Eurylochus, the challenger of Odysseus’ plans. Although John Leguizamo performs well as Eumaeus (then again, everyone performs well), this casting choice feels as odd as Lupita Nyong’o’s dual role as Helen of Troy and her sister Clytemnestra.

Still, Nyong’o feels like a better casting choice than Charlize Theron as the nymph Calypso and Zendaya as Athena, the goddess of wisdom, warfare and handicrafts, who protects Odysseus. For the latter, though, Nolan adds some logical groundwork that works in the film’s favour.

Elliot Page as Sinon — borrowed from Virgil’s Aeneid, and not a part of Homer’s poem — fits excellently into the story. Like most characters, Page is a minor entry, as are Samantha Morton, Jon Bernthal and Benny Safdie.

Holland, Hathaway, Pattinson and Leguizamo are very good choices, but the best, in my opinion, is Damon as Odysseus. Now, some might fault him for being vanilla, but I disagree. The character, despite headlining and carrying the weight of the film, is written with a sense of detachment. It is a writing choice that impacts and reflects what one sees on the screen.

The bigger deterrent, in my opinion, is how they speak. The decision to forgo neutral English or British accents — a universal staple that works best for one’s ears — and choose modern-day American intonations and lingo (the ‘wanna’, ‘pining’ and ‘daddy’ lines) creates an unsettling audio-visual disparity.

But then again, leaning into jarring personal preferences is a very Nolan thing to do. That is perhaps why The Odyssey doesn’t look like a Homeric epic. Very deliberately forgotten are its elements — the fantastical and the magical. In fact, the first words we see on the screen when the film opens are: “In the time of apparent magic.” Emphasis on ‘apparent’.

Most of The Odyssey sticks to Homer’s base story that other adapted versions have already delivered. Kirk Douglas starred in and as Ulysses. It was a 1954 Italian, French and US co-production. Another was the 1997 Francis Ford Coppola-produced, Armand Assante-starring The Odyssey — a three-hour-long feature split into two parts for the Hallmark channel. It was fairly popular because Hallmark — and I think HBO (but don’t quote my fading memory on the latter) — used to run it quite frequently.

Two years ago, Ralph Fiennes and Juliette Binoche starred as Odysseus and Penelope in the low-budget, bloody, minimally designed film, The Return. In 1989, director Franco Piavoli made the critically acclaimed, near-silent, picturesque Nostos: The Return (which you can find on YouTube). There was also a 1968 Italian series.

Because film is a creative field, several deviations also exist, such as Odysseus and the Isle of the Mists (2008), starring The Mummy’s Arnold Vosloo and Italian sword-and-sandal ‘fun epics’— I use those words in the kindest way possible — Hercules, Samson and Ulysses (1963) and Ulysses Against the Son of Hercules (1962), that have nothing to do with Homer. There’s also the 2004 Brad Pitt-starrer Troy, in which Sean Bean plays Odysseus — a film, to paraphrase my own review, designed to make sure you flunked history, mythology, literature and philosophy simultaneously.

However, my favourite divergence is Ulysses 31 (1981) — a French-Japanese anime series about Ulysses and his spaceship, The Odyssey, getting lost in unknown galaxies, after invoking Zeus and Poseidon’s wrath for killing the one-eyed machine-monster Cyclops. In the series, Telemachus, Ulysses’ young son, is with him on their journey. It is an epic in the true sense of the word.

Nolan’s preference, however, is to make an ‘anti-epic’ that trades glory and heroism in favour of telling a gruelling study of guilt and PTSD. Odysseus’ journey is framed as a triumphless victory, with heavy, unremitting emphasis on the psychological and moral costs of survival. The paralysing guilt of war, the cycle of vengeance and the illusion of closure that is just out of reach, will likely take a heavy toll on the audience’s patience. This is not a fast movie.

That’s not to say that The Odyssey is a bad, lumbering snooze-fest. The underlying source material has too much going for it. The talent, the effort and the scale are very much on-screen, as are the usual Nolan directorial preferences that make, and simultaneously break, the film.

Released by HKC, The Odyssey is rated PG. Parents are strongly cautioned: your child will grumble and be fidgety through the show. With the loud sound design, there is no chance for them — or for you — to doze off

The writer is Icon’s primary film reviewer

Published in Dawn, ICON, July 26th, 2026

What Remains After a Fire
By Kanza Javed
Ilqa Publications
ISBN: 978-969-640-361-6
222pp.

Kanza Javed is a relatively new name in the firmament of fiction writers, but she has already made her presence felt. Originally from Lahore, she holds an MFA from West Virginia University, is the winner of the Reynolds Price Prize for Fiction, and her debut novel, Ashes, Wine and Dust was shortlisted for the New American Fiction Prize for 2022.

Her short stories have been featured in American Literary Review, The Punch Magazine and Salamander, as well as in In the New Century: An Anthology of Pakistani Literature. The last one was edited by Muneeza Shamsi and published by Oxford University Press, Pakistan.

What Remains After a Fire is a collection of eight of Javed’s stories. The book gives the reader a taste of the author’s prowess. Javed writes with clarity. She knows what she wants to convey and she weaves the tale to project exactly that. Her stories have an agenda, but that does not mean they are dull or sermonise.

The running thread found across the eight offerings in What Remains After a Fire concerns subjects familiar to Pakistani readers. They encompass patriarchy, the low position of women in society and the fact that it is generally accepted, hypocrisy — especially in overtly religious settings — and marital problems. Javed contends that these issues plague every stratum of society. The rich are not exempted.

The stories are not peopled with happy characters. They have angst, discontentment and a yearning for a better or, at least, a different life. Javed deals with such human emotions with a light touch and deep understanding. She makes her characters’ feelings seem relevant and justified.

A collection of eight compelling short stories examines the quiet devastations of women’s lives, family relationships and social prejudice with empathy and remarkable narrative control

Two stories, ‘Rani’ and ‘The Last Days of Bilqees Begum’, have a great affinity. They are both about women who are facing imminent death. They are cared for by women as well, females who are in that position not by choice but by circumstance. Even though the dying women are not fully lucid, an act of betrayal from their past keeps impinging on their memories, because the perpetrator is someone they loved and trusted. When the wound to the psyche is sufficiently dire, it can never be forgotten.

There are many similarities in the tales titled ‘Stray Things Do Not Carry a Soul’ and ‘Ruby’. They are both about families who are abjectly poor. The narrator in each story is an adolescent who is also a helpless victim. ‘Ruby’ addresses the treatment of minorities in Pakistan as well as the stark contrast between the rich and the poor. On the one hand, there is over-abundance and plenty of waste and, on the other, penury and hopelessness. Yet, the women in both situations are equally dissatisfied.

‘Stray Things Do Not Carry a Soul’ depicts a father who cannot control his demons and is thus unable to set a good example for his son. The young lad hero-worships his father but finally spots his feet of clay. The narrative ends with a whisper of hope, unlike ‘Ruby’.

Three stories which are set in the USA target disparate topics. ‘It Will Follow You Home’, one of the shorter offerings in the book, touches upon mental health issues. It points out that if a therapist and patient are from dissimilar cultures, treatment may not be effective. The heroine struggles with loneliness and death and concludes that the challenges confronting her are fundamentally different from those that immigrant men face.

Like the previous story, ‘My Bones Hold a Stillness’ is also set in an American university. The wanton killing of a young Pakistani student brings out the hidden mental traumas of two friends, one a Pakistani and the other an American. The tale shows that no place is safe and that bad things can happen to anyone at any time. The guilt, the grief and the final release from fear are beautifully limned. This story also deals with paedophilia and the cycle of denial it often sets off in Pakistani homes.

Personality is truly destiny in ‘Worry Doll’, the third story set in the USA. Two women are in analogous situations, yet their responses differ. Are their reactions so diverse only because one is more rooted in tradition? And could the other one be happy elsewhere, or is her restlessness a part of her make-up? These are dilemmas that Javed chooses to probe in this tale.

‘Carry it All’, a very short story, portrays the lot of women in Pakistani society as perceived by the author. Happiness is considered an elusive goal for women. Marriages are fraught with misery and women are blamed for things beyond their control — even among the educated. The ending of this story is ambiguous and borders on the supernatural.

Death, suicide and the sad lot of women are recurring tropes. Even obedient and self-sacrificing wives suffer and females who are divorced or childless are especially punished. Men, on the other hand, are characterised as excessively macho, two-faced, unfeeling and even evil. The reader may not agree with all that the author has to say. However, her writing style cannot be faulted.

Javed is at ease with words. Language soars like a symphony in her hands. She uses ordinary vocabulary to extraordinary effect. In one place, a recently widowed woman “…emerged like an Amaltas tree in full bloom.”  Relationships are described as “…paper thin, easily ripped and discarded.”

What Remains After a Fire is easy to read yet impactful. Each story is constructed so that its layers peel away like an onion to get to its heart. The reader gets totally engrossed in the coils of Javed’s imagination. It is Pakistan’s good fortune that another talented young voice has been raised to cement its position on the global literary stage.

We will rely on Kanza Javed to relay our stories to the world. She has done so remarkably well already and her art can only improve in the years to come.

The reviewer is a freelance writer, author of the novel The Tea Trolley and the translator of Toofan Se Pehlay: Safar-i-Europe Ki Diary

Published in Dawn, Books & Authors, July 26th, 2026

To Rule all Under Heaven: A History of Classical China from Confucius to the First Emperor By Andrew Seth Meyer
Oxford University Press
ISBN: 978-0-19-766748-4
555 + XXVpp.

Andrew Seth Meyer’s To Rule All Under Heaven: A History of Classical China from Confucius to the First Emperor brilliantly tells the story of the four revolutions that transformed the chaotic aristocratic polity of the Zhou Dynasty (1045 BCE–256 BCE) into the centralised, bureaucratic, dirigiste regime that became synonymous with how we think about China.

These revolutions were political, intellectual, social and administrative, and operated concurrently during the long decline and fall of the Zhou Dynasty, which reached its climax during the Warring States period (475 BCE–221 BCE). Amidst these upheavals, a civilisation was reforged.

The political revolution is the easiest to grasp. At the founding of the Zhou Dynasty, the ruling house appointed its relatives to rule different regions. This imperial nepotism was grounded in the belief that regional overlords, being related to the ruling house, would create a natural concordance. Instead, the opposite happened, as the ruling family lost most of its authority and became a figurehead, used by powerful satraps in their machinations.

It was clear to many of the ducal houses within the Zhou confederation that they, not the king, called the shots. As the tenuous bonds of ritual, devotion and familial loyalty came under increasing pressure and regional lords jockeyed for position, a centuries-long conflict was ignited that would ultimately end with the state of Qin conquering everyone else and creating a unified state.

The real transformation of China began more than two millennia ago. Now a remarkable, deeply researched work of extraordinary insight brings this early history to life and offers powerful lessons that the world today ought to heed

The intellectual revolution was, arguably, more important than the political. The Zhou domain could have permanently fragmented into petty states and remained mired in withering anarchy and warlordism. That this didn’t happen, Meyer explains, was because of the role of ideas and the way in which different great humanistic thinkers — such as Confucius (551 BCE–479 BCE), Mo Di (470 BCE–391 BCE), Hui Shi (380 BCE–310 BCE), Mencius (372 BCE–289 BCE) and hundreds of lesser-known figures — reimagined how the state and society ought to reconstitute themselves.

In this transformation, three key practices emerged that shaped intellectual and cultural life. A substantial proportion of the aristocratic class and wealthy commoners embraced the new learning, which often emphasised loyalty to the state and legitimacy gained through competence.

This brings us to the social revolution that unfolded during this time. As competition between regional states became more prolonged and attritional, aristocratic norms of warfare were abandoned in favour of armies recruited on a massive scale from the peasantry. Richly adorned aristocrats, with their displays of individual brilliance, gave way to a peasant-soldier class, officered and provisioned along professional lines.

The violence and dislocation wrought by endless warfare led to many elite clans falling into relative poverty and becoming warriors for hire (knights) willing to serve anyone who would employ them. States steadily seized the lands and ancestral holdings of lesser aristocrats to make room for more farms and peasants to produce more soldiers and larger retinues for their ruling families. Many scions of decaying aristocratic clans turned towards seeking prestige through learning and becoming serious disciples of notable thinkers.

The birth of an intelligentsia organised into competitive schools of thought, where rigorous scholarship was prized, set the stage for the fourth, and arguably the greatest, revolution. This was the birth of meritocracy and the emergence of good bureaucracy as a civilisational ideal.

As military and political competition intensified, intellectual ferment pervaded the realm and social upheaval rewrote the rules of engagement amongst classes. Several leaders hit upon the same idea within a few decades of each other. This idea was that government should be entrusted to those most capable and that merit was a function of academic learning and scholarship, not birth or wealth.

These officials, or civil servants, would be more loyal to the ruler than entitled aristocrats or even the ruler’s own relatives and, being highly educated, would be able to solve problems of governance.

Meyer takes us through how this process played out in different Warring States, but the remarkable conclusion that many of them embraced was that the quality of the state was primarily the function of the quality of its bureaucracy. A good bureaucracy was the foundation of a great state. A wise ruler was one who exercised general superintendence and cultivated a good bureaucracy that could govern the state efficiently and justly, with minimal intrusion by courtiers and the dynasty.

Meyer shows that, during this struggle, many states had embraced the meritocratic revolution and reformed themselves. Consequently, when the Qin Dynasty unified the realm, their systematisation of language, administration, measurements and laws was built upon a rich heritage of reform. And, while the Qin Dynasty proved short-lived, being overthrown by the Han Dynasty (202 BCE – 220 CE), the changes made gave the Chinese civilisation its defining characteristics.

Meyer’s work is extraordinarily rich in its narrative detail and serves as an effective introduction to a host of Chinese thinkers and leaders who aren’t familiar to non-specialists. This is a great service because it helps excavate the diversity of perspectives that went into China’s transformation.

To Rule All Under Heaven also offers powerful lessons that the world today ought to heed. One of these is that learning and expertise matter and that a wise ruler is one who seeks out those who are knowledgeable. Meyer uses Confucius’ life as an example of this. Confucius wandered from one place to another with his small group of disciples, offering to educate courtiers and rulers in his philosophy of humaneness, reason, compassion and respect for learning. Everywhere he went, he was laughed out of the room.

On one occasion, Confucius became seriously ill, fell unconscious and had to be carried in a litter by his disciples. One of his disciples, Zilu (540 BCE–480 BCE), organised the others into a retinue, and they collectively pretended to be carrying a great aristocrat. When Confucius recovered and regained consciousness, he remarked, “It has been a while that Zilu has been shamming, has it not? In acting as if I have retainers when I have none, whom have we fooled?”

But Confucius had set out to change how people think about the world and, today, an entire civilisation bears his stamp. In the short run, power trumps wisdom. In the long run, wisdom trumps power. A wise ruling class understands this and cultivates learning; a foolish one does not.

Another lesson is that societies that can draw upon a heritage characterised by idealisation of public service, respect for learning and meritocracy are more likely to build successful states. The divergent trajectories of modern India and China are a case in point. China has deep traditions of meritocracy and strong state-centric public service ethos and thus, while being autocratic, has far more responsive governance than India.

In India, meritocracy is a colonial intervention and Indian social norms and expectations seek to subvert merit at nearly every turn. Consequently, the democratically elected leaders of India do less good for their own people than China’s one-party state does for its people. To build a good democracy or a good autocracy, you need administrative meritocracy and a public service ethos. Otherwise, you just end up with bad government.

Meyer’s To Rule All Under Heaven is a remarkable work that brings the centuries before China’s unification to life. It is deeply researched and written with extraordinary insight and a profound empathy for its subject. It is also accessible to a general readership, while the maps, timeline and notes offer solid additional guidance to anyone looking to understand the mainspring of Chinese civilisation.

The reviewer is Professor of History at Quaid-i-Azam University, Islamabad and, most recently, the author of New World Empires: Cultures of Power and Governance in the Americas. X: @IlhanNiaz

Published in Dawn, Books & Authors, July 26th, 2026

Akram Khatoon: Guhar Honay Tak
By Humaira Athar
RB Publishers
127pp.

May God make you the president.”

This is how Akram Khatoon’s father used to bless her. And whenever she told him that it was not to be, he would say, “Nothing is impossible before God Almighty.” Then, one day, Akram Khatoon really became president. In fact, not only did she become the president of First Women Bank Limited, she was also the first woman in Pakistan to hold this position in the banking sector.

Akram Khatoon: Guhar Honay Tak [Until It Becomes A Pearl], penned by Humaira Athar, is the biography of this pioneering woman and also includes her memoirs. It traces her remarkable journey from modest roots to becoming a banker and the founding president of First Women Bank.

Being the eldest of three sisters and not having a brother, Akram Khatoon wanted, from a young age, to be like a son to her parents, to support them. Her parents may not have been highly educated, but they were aware of the importance of education, which they emphasised to their daughters.

After completing her master’s degree, Akram Khatoon began working as a lecturer at a college in Sukkur but, in a few months, lured by the pay and perks, she decided to take up banking. She joined the profession as a trainee officer for the State Bank of Pakistan’s officer training scheme. She was the only woman among the 50 successful candidates out of a total of 1,600 who had applied.

After a year’s training, she was posted to then-state-owned Muslim Commercial Bank, and there was no looking back after that. At the beginning of her career, she was discouraged by others and people told her to her face that she should not have joined the field as it was a man’s domain, but she remained steadfast.

From modest beginnings to the presidency of First Women Bank, Akram Khatoon’s inspiring journey is the subject of a new Urdu biography

The world knows Akram Khatoon as the first president of First Women Bank, but the fact is that she is also the pioneer of women’s banking in Pakistan. When, a year or so into her career, her bank’s deputy president asked her if she would be able to handle it if the bank decided to open a women’s branch, she very confidently replied, “Why not?”. And so, when a year later the ladies’ branch was opened, she was appointed its manager, becoming the first female manager in the country.

She has had the privilege of initiating women’s banking on a global scale by heading the Muslim Commercial Bank’s first all-women branch in the earlier days of her career. She served Muslim Commercial Bank in various senior management positions for 28 years and, in 1989, when the Benazir Bhutto government established the First Women Bank, she was selected as its president. It is worth noting that the concept of women’s banking was introduced to the world by Pakistan. Before that, a couple of units had been functioning in the USA, but they had closed down.

As for the need for a women’s bank, Akram Khatoon says that women were facing problems getting loans from regular banks. Educated women wanted to do business, but it didn’t seem possible because of this constraint. In Pakistan, women often have to work harder to be recognised. Since it was her responsibility to set the bank’s credit policy, she ensured that women from lower classes could also benefit from it.

She further says that, when the bank was founded, she was told not to worry about profits — she just had to provide loans to poor women. However, she was of the opinion that when the government changed, the new one could question the purpose of a bank that was going into a loss and may close it down. So, she organised it on the model of commercial banks, not just as a development bank, and they gave loans on easy terms and showed profits from the first year.

That she had the interests of poor women at heart is evident from her suggestion to the prime minister to also arrange yellow cabs for those women, who may not know how to drive but whose jobless husbands and sons did. That way they could earn a decent living for their household. Earlier, the scheme carried the condition that applicants should drive the cabs themselves, but her suggestion was accepted.

She also mentions an incident in which a branch worker had taken out a loan, and her husband, who was affiliated with the Pakistan Peoples Party, got an order signed by Benazir Bhutto to write off her loan. Akram Khatoon refused to accept it, saying that she could not let her bank suffer a loss. People warned her that she could face the consequences for her refusal, but she was resolute. She had her bank’s interest at heart and her integrity did not allow her to go against the rules.

Apart from her professional life, the book also provides a peek into Akram Khatoon’s personal life. It is interesting to read about her family background, her wanting to be the son her parents never had and how she took care of her parents, especially her mother, after her father’s passing. She talks of how she wanted to be back in Karachi when she was asked to wait in Islamabad for her appointment letter — her worry for her mother being alone at night was greater than her happiness at being selected as the first president of the First Women Bank.

She advises the younger generation to work hard and with honesty, no matter what profession they choose for themselves. Hard work always pays off, she asserts. She also tells them to expand their knowledge and experience, as it will benefit not just the organisation they work for but also them.

Akram Khatoon served First Women Bank until 2001. Though she was to retire much earlier, she was given an extension despite her wish to leave. She believes that one of the major reasons for so much unemployment in our country is older people sticking to their positions and not giving a chance to the younger ones.

In addition to being the president of First Women Bank, she has held many honorary positions, such as being a council member for the Institute of Bankers in Pakistan, a member of the board of governors for the National Institute of Public Administration, Karachi, a member of the executive committee of Pakistan Banks Association, as well as office bearer and trustee of various NGOs and trusts. Akram Khatoon is also the recipient of many awards and honours, including Wonder Woman Pakistan 2017, the Benazir Bhutto Excellence Award, the Banking Excellence Award and more than 80 other awards in recognition of her extraordinary services in the field of banking.

The author Humaira Athar, a senior journalist and columnist, has also penned two other books and is the recipient of several awards, including an All Pakistan Newspapers Society (APNS) Award. She deserves all the credit for convincing Akram Khatoon to document her memoirs.

Earlier, many friends used to ask Akram Khatoon to pen her memoirs, to which her usual reply would be “What’s the point… who reads books?” Finally, one day, when Humaira asked her again, she relented and told her that she couldn’t do it herself but, if Humaira wanted, she could write it. Humaira then took on the task and arranged meetings with her to look into her life.

The book is written with a reader-friendly and simple narrative, with Akram Khatoon telling her story to Humaira and, through her, to readers. It brings out not just her achievements and the problems that society threw her way, but her personality and the strength of her character, along with her resolve to do what she set her mind to do.

Her life and work are an example for others to follow.

The reviewer is a freelance journalist

Published in Dawn, Books & Authors, July 26th, 2026

In our ancient region of Sapt Sindhu (the land of seven rivers), later extended to the northern and eastern parts of today’s India, the festival of lights has always been a major celebration.

For many of the followers of Hinduism and those with Vedic roots, it marks the return of Lord Ram and his companions to Ayodhya after defeating Ravan. Some other reasons relating to other deities are also cited. For followers of other related faiths, the reasons or emphases may have differed over the years but the Deepavali, commonly referred to as Diwali, is marked each year with much pomp and festivity.

In Sanskrit, Deepavali means ‘the row of lights’, when earthen lamps are lit in an array symbolising the triumph of light over darkness. I remember one of the Diwali nights in Tharparkar many years ago, when a friend took me to the large sandy hill overlooking the city of Mithi. The lights emanating from the lamps in Mithi made it look as if it was a reflection of the starry night. In quiet deserts like Tharparkar, one can see constellations and stars glowing in a clear sky, as if the universe is closer. It felt like we had a shining sky above and a shining sky below in Mithi.

A few days ago, I had the same feeling of being encircled by earthen lamps radiating poetic light, while sitting and reading a new compendium of seven poets on a rather dark and damp night in Lahore. Spread over 295 pages and titled As One Lamp Lights Another — A Collection of Pakistani Poems in English, it is essentially a volume of original poems but some English translations of Urdu, Sindhi (via Urdu), Persian and Punjabi poetry by one of the contributors, besides other major poets, are also included. It is compiled and edited by the well-known lawyer, poet and litterateur Basharat Qadir. The collection is published by Emel Publications, Islamabad.

In quiet deserts like Tharparkar, one can see constellations and stars glowing in a clear sky, as if the universe is closer. It felt like we had a shining sky above and a shining sky below in Mithi. A few days ago, I had the same feeling of being encircled by earthen lamps radiating poetic light while sitting and reading a new compendium of seven poets…

The poets in the collection include Mekyl Ali Qadir, Ghazal Qadir, Raabia Qadir Zia, Junaiyd Qadir, Khurram Qadir, Asghar Qadir and Basharat Qadir, the editor himself. These seven are the grand, great grand and great-great grandchildren of Lady Abdul Qadir (Anwar Begum), one of the earliest proponents of female education in Punjab, and Sir Sheikh Abdul Qadir (1874-1950), the founding editor of the pioneering Urdu literary journal Makhzan from Lahore.

Sheikh Abdul Qadir also held other notable positions and served as a leader of the Muslim community, particularly through the Anjuman-i-Himayat-i-Islam, before Independence. The generations coming after have not only continued the family’s penchant for literature, poetry, academic excellence and scholarship in various disciplines over generations, but produced enjoyable and meaningful works of poetry.

Reading the two young women (Ghazal and Raabia) in the collection, along with the five men of multiple age groups, brings forth how they have, in their own ways, embraced a compassionate and a plural discourse when it comes to dealing with the intellectual and social concerns of our times. On the one hand, there is the angst that comes from within, due to the material and spiritual desires that delude us. On the other hand, there is this global human condition that envelops the poet’s being without her/him knowing.

The youngest contributor Mekyl Qadir’s poem ‘The Tragedy of Notre Dame’ is haunting, in which the poet not only meets the devil but also holds a brief conversation with the devil’s son. Ghazal Qadir has fewer entries but the directness in her work is driven by her rejection of social oppression and the hostilities she witnesses. Raabia Qadir’s ‘The Wind Trapped in a Cage’ has seven stanzas but I quote three lines: “I am a flame — on your palm;/ I am the wind — within a cage;/ I am a cloud — upon a page…”

To me, Junaiyd Qadir is a powerful poet who uses despair and sorrow to oil his lamp of hope. From Palestine to personal loss, the meaninglessness of humdrum existence and the ruthlessness demonstrated by the powers that be, he captures varied themes and emotions. “…Embrace the Darkness all around you,/ Embrace the Silence and the Storm.” Khurram Qadir has a few poems in the collection which celebrate the inner self and asserts its importance in the universe. He charts a somewhat different course from the other contributors, who recognise strife and torment but do not take it in stride as he does. His poems reminded me of themes in Bulleh Shah’s work.

Asghar Qadir is the most erudite among all the poets here. Erudition without aesthetics does not make poetry. Asghar has the ability to knead the two together in his creative responses to life, love and separation. He has also rendered accessible and meaningful translations of works from Urdu into English.

The last poet and translator in the collection is the editor Basharat Qadir himself. His translations have a wide range. Beginning from Mir, Ghalib, Urfi, Bulleh Shah, Mian Muhammad Bakhsh and Allama Iqbal, one finds many major and important poets coming after them. Basharat Qadir is a natural poet, whose work is laced with intertextual strength. He writes provocative poems of any length with equal facility. Basharat writes: “… And oh for that ecstatic bliss/ Of long and laboured breath:/ Though death itself is sweet, yet this/ Is far sweeter than death.”

The columnist is a poet and essayist. His latest collections of verse are Hairaa’n Sar-i-Bazaar and No Fortunes to Tell

Published in Dawn, Books & Authors, July 26th, 2026

Some animals slip away without much notice. Others leave a hole so wide it starts to feel like a page torn from the country’s story.

The rhinoceros belongs to the second group. Standing in Pakistan today, it is hard to picture a rhino shouldering through reed forests along the Indus, feeding near Mohenjo Daro or fleeing before a Mughal emperor on the Peshawar frontier. And yet the old records keep insisting: it was here.

The painting of Zaheeruddin Muhammad Babur hunting a rhinoceros is usually read as royal theatre, but it opens on to a landscape we have forgotten. History remembers him as the founder of the Mughal Empire — a warrior-poet out of Fergana, a man of gardens, grief and appetite — and less often as one of the finest observers of the country in early modern South Asia. In his memoirs Baburnama, he catalogues rivers, passes, fruits, birds and animals with a naturalist’s attention, and his rhinoceros is no traveller’s rumour. He met it, in territory that is now Pakistan.

In February 1519, Babur crossed into the ground between the Indus and the Punjab plains and recorded a hunt on the “Sawati” side, at a place the locals called Karg-khana, the house of the rhinoceros.

Seals, manuscripts, one Mughal miniature and a handful of travellers’ notes are all that remain of a species that once ranged the Indus…

The cover was thick. A female came out with her calf, arrows flew and the calf was killed. A hard passage to sit with now, but a valuable one: the rhino had a range, a local name and a presence large enough for a place to be named after it.

Days later he turned to the Salt Range, the old Koh-i-Jud, moving through Bhera, Khushab, Chiniot and the River Jhelum to Kallar Kahar, with its lake and spring. This green country, perhaps the Soon (also rendered Soan) Valley in Khushab, is where historians have long placed the famous miniature painting. Wherever the painter stood, the rhino belonged to the memory of the northwest’s rivers and grasslands.

Babur met the rhinoceros again near Peshawar in December 1526, when the animal was flushed from a thicket. Babur’s son and successor Humayun and the younger men, who had never seen one, were delighted and the chase ran for miles before the animal fell. At one point, Babur wonders how a rhino and an elephant might fare against each other — the idle curiosity of an empire still learning to read its new ground.

IBN BATTUTA ON THE INDUS

Babur was not the first to write about the animal. Almost two centuries earlier, the famous traveller Ibn Battuta had seen it beside the Indus. Born in Tangier in 1304, Battuta left home young for the Hajj and travelled for nearly 30 years, from North Africa to China, and his Rihla remains one of the great travel books of the mediaeval world.

When Ibn Battuta reached Sindh in 1333, the Indus was nothing like the harnessed river of today. It was restless and many-branched, forever making and unmaking wetlands, reed forests and grazing land.

Near Janani, placed by local tradition in the old Larkana-Warah-Badah country within reach of Mohenjo Daro, he came upon a rhinoceros on the riverbank. Ibn Battuta’s sketch is sharp: black and heavy-bodied, with an outsized head — smaller than an elephant, yet more frightening when it charged. He passes along the old saying that the beast was “head and no torso.”

A party pushed into a reed forest after fording the river; a rhino appeared without warning, goring a horseman’s mount, throwing the rider and vanishing into the cover, wrote Ibn Battuta. Later, he watched another grazing and, elsewhere, while riding with the Sultan of Delhi, he saw rhinos driven from a reed jungle and killed. The killing mattered less than the setting: reeds, thickets, wet ground — an Indus lush enough to carry one of Asia’s largest land animals.

THE EVIDENCE IN STONE

Here, the old seals of the Indus Valley begin to talk. Mohenjo Daro and Harappa left us the famous “unicorn”, along with zebu bulls, elephants, buffaloes, tigers and rhinoceroses. On some, the rhino stands complete with its armoured folds and single horn. The carving is no flight of fancy; it is a memory pressed into steatite, evidence that the Bronze-Age Indus held tall grass, floodplains, marsh and forest.

When the seals are set in a row, a timeline emerges: the rhino was not only present in the imagination but, probably, also the surroundings of the Bronze-Age Indus. It was there in the reed forests of Sindh in the 14th century, and was still clinging on in the 16th century around Peshawar, Swabi and the approaches to the Khyber, as later travellers would confirm.

THE LAST SIGHTING

The last clear sighting on paper comes from Seydi Ali Reis, an Ottoman admiral born around 1498 who served Suleiman the Magnificent. Swept into the sea war with the Portuguese, his fleet was driven on to the Subcontinent’s western coast, and he came home overland through Gujarat, Sindh, Delhi, Lahore and Peshawar.

In 1556, having crossed the Khyber Pass, Reis reported two rhinoceroses. While the Khyber of today is known for bare stone and dust, and as a corridor for armies, Reis’ note points to something greener: riverine patches and scrub and wooded pockets able to feed animals that now survive only far to the east, in India and Nepal.

These three make a thin archive: no numbers, no census, no date for the final animal, only something heavier — the rhino held on in these lands until at least the middle of the 16th century and, after Reis, disappeared from the written world.

An animal does not die the day the last traveller stops writing about it, and a few may have lingered unseen in far reed beds for generations. But by the close of the century, the rhino was plainly in its last shadows, worn down by hunting, the plough, the draining of wetlands, the shifting river, growing towns, and the endless movement of men and horses.

The loss runs deeper than the animal. What went with it was the sort of country that could hold one: grasslands and wallows, mud and reeds, seasonal floods, a measure of safety. The rhino’s exit is the receipt for a whole landscape taken apart.

A GHOST IN THE REEDS

The greater one-horned rhinoceros is thriving again in parts of India and Nepal. In Pakistan, it is a ghost — surviving in seals, manuscripts, place-names, one painting and a handful of traveller’s notes.

Even that should change how we see the Indus, which was never only a canal grid or a barrage on a map. It was a living corridor, once wide enough for elephants, buffaloes, tigers, swamp deer and rhinoceroses.

Recovering that memory is a form of literacy: a country that forgets its lost animals loses the measure of its own damage. The old miniature, then, is more than a Mughal-era artwork. Behind the emperor and the wounded beast stands another Pakistan — wetter, wilder, deeper in grass.

The rhino is gone, but the gap it left still has weight, standing in the reeds like a dark, armoured question: if a creature that size could vanish from the land and nearly from memory, what else are we mislaying now without noticing?

The writer is a researcher with a focus on history and anthropology. He is also the founder of the Clifton Urban Forest, Karachi. X: @masoodlohar

Published in Dawn, EOS, July 26th, 2026

Watched on by Fifa president Gianni Infantino, who was present at his scarcely believable 47th match of the tournament, and the inaugural winner of the Fifa Peace Prize, Donald Trump, Spain and Argentina faced off amidst a storyline written in Hollywood itself. The greatest to ever kick a ball, Lionel Messi, still going strong at 39, against the kid he baptised in a Unicef calendar shoot 20 years ago, Lamine Yamal.

The proceedings commenced fairly ordinarily, a closing ceremony followed by the trophy paraded around the pitch. But while normally you would have the teams come out next, the 2026 World Cup went down a new path. And why wouldn’t it? It was only fitting that the World Cup riddled with controversies ended with one too.

For some reason, the organisers thought it would be a good idea to have the US national anthem sung before a match the US was not playing in. And somehow the organisers also thought it would be completely fine to omit the national anthems of the other two host nations, Canada and Mexico. American obnoxiousness at its peak.

The Fifa World Cup final, expected to be a chaotic, thrilling contest between a spirited Argentina and technically matchless Spain turned out to be a dour game with no fluency

Anyway, the teams march out. Spain’s national anthem is played out by a band; Argentina’s by a mix of a singer and their raucous fan base. And finally, seven minutes past the official kick-off time, the biggest game in the world of sports gets underway. Late kick-offs were another highly contentious point of discourse, especially during the first week of the tournament.

Immediately, there’s a new record: Messi becomes the first person to start in three World Cup finals. Coincidentally, he’s captained Argentina in all three. He also becomes the oldest ever outfield player in a World Cup final. And what a tournament the 39-year-old had had, scoring eight while breaking Miroslav Klose’s all-time record of most goals and assisting another four, to move miles ahead in the all-time playmakers’ list.

Partnered upfront by Julian Alvarez, who had scored the definitive best goal in the quarter-finals, and driven by the strongest of characters that had helped him wriggle Argentina out of the most precarious of situations, you would think the stage was set for an exciting, chaotic match.

Wrong! In a World Cup that had seen 307 goals over 103 matches at an average of almost three goals per game — the highest since 1958 — the team with the most goals up till the semi-finals decided to just sit back.

They were strong defensively: holding their shape, nullifying the threat carried by Spain’s extremely fluid possession-based attacks, the impregnable Emiliano Martinez snuffing out anything that managed to breach their defence, and deploying the dark arts when required.

Hydration break — let me have a quick drink.

The dark arts. One of the most talked about topics in Argentina’s run to the final. A conspiracy theory did rounds throughout the tournament that the Albiceleste were favoured by the officials. Late challenges by Argentina seemed to go unpunished, having committed the highest number of fouls but having received one of the lowest number of bookings.

Then came Egypt’s disallowed goal in the Round of 16, one of the most divisive decisions in football history. The deeper the tournament ran, Argentina’s approach turned more cynical — little fouls as attempts to slow down the pace, led by spoilers-in-chief Enzo Fernandez and Leandro Paredes.

Spain, on the other hand, were technically and tactically peerless. Their dismantling of France in the semi-finals, unlocked by the irrepressible Rodri finding his pre-ACL brilliance, was a sight to behold.

Their full backs, Marc Cucurella and Pedro Porro, were the standout pairing of the tournament. Their defence and goalkeeper Unai Simon had already set the record for the longest time at a World Cup without conceding — 650 minutes — and had only conceded once all tournament to Belgium’s Charles de Ketelaere.

Mikel Oyarzabal had stood up when Lamine Yamal hadn’t been at his sparkling best, tying David Villa for the most goals at a World Cup edition by a Spaniard, with five. Dani Olmo and Fabian Ruiz had been everywhere on the field, switching positions and bamboozling entire systems. And when they struggled, they could rely on the super-sub Mikel Merino to bail them out of it.

And in the final, the combination of the two led to a contest which could be called uneventful at best, especially after the fireworks of the 2022 final. The game had no fluency, partly due to the slow pitch and majorly due to Argentina trying to kill the spectacle.

The result was a dour game littered with interruptions, including the razzmatazz of the first-ever half-time show in a World Cup, featuring Shakira and BTS. The Americanisation of football completed.

All the one-way traffic led to two things: Argentina becoming the second-ever team not to register a single shot over 90 minutes in World Cup history and Spain forcing 11 saves out of Martinez, the most in a World Cup final.

Spain showed the utmost calm, racking up more than double the passes attempted by Argentina, as they recycled possession in the face of continuous roadblocks. Argentina weren’t helped by the fact they had to replace both their first-choice centre-backs, but the turning point came late in regulation time — Fernandez collecting two quick needless yellow cards, exhibiting brattishness, the first for dissent and the second for a challenge so spectacularly late and brutal it sent Pau Cubarsi somersaulting.

Argentina down to 10 men, but still somehow forced the match to extra time.

Spain, on their part, had been quite wasteful in their finishing. Multiple chances went begging, including a glorious headed opportunity for Merino. When they did score through Nico Williams, the goal was ruled out for a foul in the build-up.

But Spain kept coming, and they knew they only needed to find one moment of magic, which duly arrived when Ferran Torres controlled a Williams cutback header and smashed it in from close range, emulating Andres Iniesta in their 2010 victory by scoring the winner in the second half of extra time.

Argentina finally mustered a shot in the 117th minute, but Spain were comfortable. Control prevailed over chaos, Spain winning the World Cup for the second time after a thoroughly dominant display in which they outshot their opponents 20 to 2.

The full-time whistle brought about some ugly scenes, wherein Paredes squared up to Gavi and Pedri and was duly sent off for his machoism. Nahuel Molina attempted to throw a punch at Rodri, all while the great man stood alone with tears flowing down his cheeks.

Messi had been the nucleus of this Argentina side. His final appearance in the World Cup — surely, he won’t be playing at 43 — he merited a better send-off than the belligerence his teammates brought at the end.

Cubarsi was named the Best Young Player and Simon won the Golden Glove, both contributing to Spain’s seven clean sheets in the tournament. Their captain Rodri picked up the Golden Ball for being the tournament’s outstanding player ahead of Messi, while France’s Kylian Mbappe won the Golden Boot for being the highest goal scorer.

Trump awarded the trophy, then proceeded to remain on the stage during Spain’s celebrations despite the best efforts of Infantino to bring him off.

The writer is a sports enthusiast with a background in supply chain management. X: @tahagoheer

Published in Dawn, EOS, July 26th, 2026

In Swat, 15-year-old Hania has spent the last 10 months learning about nutrition, balanced diets and almost everything she needs to know about anaemia.

She can tell you which foods inhibit iron absorption — tea, coffee and milk. She knows that Vitamin C helps. She has made fruit plates in class, designed posters and role-played conversations with imaginary mothers, fathers and brothers. She takes her weekly iron-folic acid (WIFA) tablet every Tuesday in school, in front of her teacher, with a cup of water ready for her.

What happens on Wednesday is another story.

At home, her father says he hasn’t given permission. Her brothers have heard a rumour on social media that the supplements are a conspiracy. Her grandmother warns that having them could affect her fertility.

But there is so much more Hania has learnt from her teacher about seasonal fruits that are locally available and rich in iron. Faced with opposition, Hania chooses silence. The problem is not Hania’s knowledge. It is that nutrition programmes assume she has the power to act on it.

A pilot nutrition programme in schools found that adolescent girls quickly learned about healthy diets and iron supplements. What it also revealed was that family and household routines — not classrooms — often determine whether those lessons sustain

THE PROBLEMS OF NUTRITIONAL DEFICIENCY

Adolescent nutrition interventions in Pakistan are designed as if the girl is a change agent. She isn’t. The household, not the school, is the actual unit of behaviour change. Until programmes are redesigned around that reality, results will keep evaporating at the front door.

The scale of what’s at stake is not in dispute.

According to the 2019 Global Nutrition Report, 41 percent of women of reproductive age in Pakistan suffer from anaemia — among the highest rates in the world for the 14-18 age group. The 2025 State of Food Security and Nutrition in the World report puts the affordability problem in starker terms: more than 60 percent of Pakistanis — that is over 150 million people — cannot afford a healthy diet.

The consequences accumulate quietly: stunted growth, poor academic performance, elevated risks during pregnancy and a maternal mortality rate of 186 deaths per 100,000 live births. For adolescent girls in public schools, the condition is both pervasive and largely invisible.

FROM CLASSROOM TO HOUSEHOLD

A social protection programme for adolescent girls’ nutrition, called SOPRAN, piloted interventions across seven districts — Islamabad, Faisalabad, Swat, Skardu, Quetta, Kotli and Shaheed Benazirabad — involving over 100,000 girls. It was led by the Benazir Income Support Programme (BISP) and implemented by GIZ Pakistan, Ottawa-headquartered Nutrition International and the World Food Programme among others.

According to the programme’s findings, anaemia awareness among adolescent girls rose 48 percentage points over the 10 months of its implementation. Awareness of WIFA supplements increased from 12 percent to 81 percent. There was a 27 percent drop in cases of anaemia symptoms among girls. The findings showed that three-quarters of girls in the targeted area were now meeting the minimum dietary diversity threshold, consuming at least five of the nine food groups.

But the data also reveals something uncomfortable: when the school gate closes, the programme’s influence shrinks to whatever an adolescent girl can negotiate against household economics, gendered authority, social rumours and deeply ingrained food routines.

An adolescent girl in a public school in Pakistan is not an individual recipient of an intervention, but is embedded in overlapping circles of influence. Typically, a father decides what can be bought and the mother decides what is cooked. Grandparents encourage what they recognise and reject what they don’t. Teachers — when they’re well-trained — notice hesitation and help reassure girls in the face of unfamiliar information.

According to the data, teachers were the linchpin, bridging the initial trust gap through reassurance and instructional consistency. Structured protocols ensured nutrition education sessions were delivered regularly and WIFA supplements were distributed on schedule. Make-up doses were tracked. Girls also reinforced each other’s progress through peer observation. Over 90 percent of girls could recall key nutrition messages. Around 86 percent shared what they had learned with their mothers.

CARRYING IT HOME ALONE

But the household was largely left to the girls themselves. And they tried.

Anum from Quetta watched a classmate transform from being visibly pale to visibly stronger. She used that observation as evidence when seeking her own father’s permission. Tahira in Skardu persuaded peers through her own account of improved energy. Maliha in Swat quietly began influencing what was cooked at home, one conversation at a time.

These acts are significant, but also fragile. Girls attempted change through suggestion, through patience, through incremental advocacy in kitchens and at dinner tables. Whether those efforts translated into lasting practice remains, by the program’s own admission, uncertain.

What is not uncertain is where the resistance is concentrated. Fathers were the least engaged decision-makers, yet often held the final say over WIFA supplementation. Only 44 percent of girls shared nutrition learnings with their fathers.

In Quetta and Skardu, more than half of fathers and mothers did not actively support and encourage their daughters’ supplementation. Misinformation about fertility, side-effects and the suspiciousness of anything free remained very much present at the dinner table.

THE LIMITS OF INFORMATION

Adolescent girls’ nutrition practices are shaped by constraints that sit outside their control.

Household income determines what can be purchased. Food choices follow habit, taste, affordability and convenience. Some girls skip meals when they wake up late, when household routines make breakfast difficult or when money for their favourite canteen snack is not available.

Others know exactly what healthier options exist and have no power to put them on the table. Knowledge, while necessary, is nowhere near sufficient.

Schools remain the most scalable platform for reaching adolescent girls in Pakistan, and SOPRAN’s results within that platform are a genuine proof of concept. But scaling up cannot mean simply running the same school programme in more districts. It means redesigning the programme with the household as the unit of change. This starts with structured, gendered engagement with household decision-makers, particularly fathers and male family members, before launching the programme and not as an afterthought.

It also requires upstream misinformation management: myth-busting content integrated into community-level outreach, grievance mechanisms that allow families to raise concerns and receive credible responses and the activation of trusted local authorities, including doctors and religious leaders.

On the programme design itself, the evaluation points towards institutionalising recurring nutrition modules, strengthening teacher advocacy skills and producing peer testimonial materials that families can see and trust.

The girls themselves are not the limiting factor.

Kiran in Faisalabad imagines herself moving through her community door-to-door, talking to families about nutrition. Bakhtawar in Quetta frames it as an obligation. “It is the duty of a person to inform other people,” she says. She believes in persuasion through personal action. The intention is there, and the confidence too, in many cases.

What is missing is the infrastructure behind them. If girls are expected to carry change into their households, then credibility, protection and an enabling environment must travel with them. Until the household is treated as the intervention, girls like Hania will keep knowing what they must, but without the authority to act on it.

The writers are part of the Analytics team at the Centre for Economic Research in Pakistan (CERP), which conducted the evaluation of the SOPRAN pilot project

Published in Dawn, EOS, July 26th, 2026