Entertainment Archives - The Financial Daily

Ranbir, Alia Stir Excitement with ‘Love & War’

TFD — Mon, 28 Sep 2026 10:52:38 +0000

MUMBAI: Ranbir Kapoor has sparked excitement among fans after a striking new image from filmmaker Sanjay Leela Bhansali’s upcoming Love & War offered another glimpse of the actor’s intense character in the much-awaited film.

The film also stars Alia Bhatt and Vicky Kaushal and is scheduled for a worldwide theatrical release on January 21, 2027.

In the newly released image, Kapoor appears bloodied and wounded while sitting behind the wheel of a vintage turquoise convertible. Wearing a white short-sleeved knit shirt and sunglasses, he sports slicked-back hair and a moustache.

Blood is visible running from his shoulder towards his wrist and staining the car door, adding to the mystery surrounding his character and the film’s storyline.

Love & War marks Kapoor’s reunion with Bhansali nearly two decades after the filmmaker launched him as a leading actor in Saawariya in 2007.

Since the project was announced, there has been considerable curiosity surrounding the characters played by Kapoor, Bhatt and Kaushal and their relationships in the story. The latest first-look image adds to the intrigue but reveals little about the film’s broader plot.

The project also reunites Kapoor and Bhatt on screen after the couple appeared together in Brahmastra Part One: Shiva.

Bhansali, known for visually elaborate films and emotionally intense storytelling, is bringing the three stars together for one of his most anticipated projects.

Love & War is set to be released in Hindi, Tamil and Telugu, with Marudhar Entertainment handling distribution.

Bhatt was recently seen in Alpha, while Kaushal starred in the 2025 historical film Chhaava. Kapoor’s last major theatrical release was Animal in 2023.

With the latest glimpse of Kapoor’s character now generating attention, anticipation surrounding Love & War is expected to build ahead of its January 2027 release.

The post Ranbir, Alia Stir Excitement with ‘Love & War’ appeared first on The Financial Daily.

From Bombay building to bullet threats: Mazhar Abbas remembers at KPC series “Jo Hum Pe Guzri”

Webmaster — Sun, 12 Jul 2026 07:29:29 +0000

Humaira Motala : The writer is a senior journalists, having
experience of working with all major media houses and foreign media. She also heads a platform for female journalists, Pakistan Council of Media Women”

KARACHI: Karachi Press Club’s Najeeb Terrace was packed, but the noise fell silent the moment Mazhar Abbas picked up the mic. One of Pakistan’s most respected journalists, Abbas was invited to share not headlines, but memories – of his early days in newsrooms, of stories that shaped him, and of a career spent chasing truth in an era when journalism meant typewriters, landlines, and courage. For younger reporters in the audience, it was a masterclass. For veterans, it was nostalgia.

The session was part of KPC’s ongoing series “Jo Hum Pe Guzri: What We Lived Through” – an initiative by KPC General Secretary Aslam Khan and the governing body to document the oral history of senior journalists. The idea is simple: before archives go digital and newsrooms go virtual, record the lived experience of those who built Pakistani journalism. Veterans pass on context. New journalists hear what textbooks don’t teach – how news was gathered, how power was challenged, and what it cost.

A large number of politicians, civil society members, and the journalist fraternity attended. Among the prominent were Senator Waqar Mehdi, Nasreen Jalil, Raza Haroon, Khushbakht Shujat, Khawaja Rizvi, veteran journalist Wusatullah Khan, and many seniors and young journalists.

A Childhood in Hyderabad: Abbas began far from Karachi, in Hyderabad. “I grew up with my three brothers,” he recalled. “Our father, Mirza Abid Abbas, an educationist, was held in very high regard in the community. The muhalla was connected. People knew each other, they looked out for each other. That teaches you ethics before you learn journalism.”

For young reporters in the audience who grew up on WhatsApp groups and Twitter threads, it was a different picture of community – one where reputation mattered on your street before it mattered on page one.

Karachi when Newsrooms Spilled onto Streets: Then came Karachi. Abbas studied journalism at the University of Karachi. “Coffee shops, cinemas, bookstores – that was our standard culture,” he said. “And Karachi journalism was alive in Bombay Building. From The Star newspaper office to Jang Street, you would find a crowd of newspaper workers. Reporters, sub-editors, press workers, hawkers. It was noisy, it was chaotic, but it was alive.”

He described an era when you filed from a landline, argued on the desk, and then walked to a nearby café to argue some more. Journalism wasn’t a 9-to-5 job. It was a way of life embedded in the city’s streets.

Abbas also recalled covering major cases early in his career, including the kidnapping and murder of Daniel Pearl, Bureau Chief of The Wall Street Journal, in 2002.

Witness to History: That street-level journalism put Abbas in the middle of Pakistan’s political turbulence.

“I saw politicians like Benazir Bhutto Shaheed, Asif Zardari, Nawaz Sharif attending court,” he said. “You would wait for hours in corridors for one line. And when you got it, you knew it would lead the next day’s paper.”

He spoke of covering the evolution of MQM over two decades – watching it grow from a student and urban movement into one of Karachi’s dominant political forces.

“You saw the city change with it,” he noted. “Riots, strikes, negotiations, elections. We reported it from the ground. There was no Twitter, no WhatsApp. The notebook, the tape recorder, and the phone booth were your tools.”

The Cost: Threats and Raids: Then his tone changed. Abbas spoke of the price journalists paid for that reporting.

“I was threatened. I saw a bullet meant for me,” he told the audience quietly. “And I remember the day my home in Gulshan-e-Iqbal was raided by the militia of a political party. My maid and my younger brother were harmed in that raid.”

The hall went silent. Everyone in KPC understood what those years in Karachi meant.

“That was the time when reporting was not just about getting the story,” he said. “It was about getting home safely. But we kept going, because if we stopped, who would tell the story?”

“While talking to senior journalist Rafiq Sheikh, who was also part of Jang, he told me it was such a horrific time,” Abbas recalled. “Whenever a threat or warning came, it would point directly or indirectly toward MQM, without any solid evidence.”

He said that climate of suspicion made reporting even harder. Every incident became politicized instantly, and journalists were caught in the middle – pressured to name, to blame, and to file fast, even when facts were missing.

The Newsroom as Family: “In those days the newsroom was your second home,” Abbas said. He recalled how senior editors acted like gatekeepers and mentors at once. They would cut your copy hard, but they would also stand by you if pressure came from outside. “Now that relationship is gone. The editor has become a traffic manager, not a teacher.”

The Culture of Debate: For Abbas, Dawn, The Star, Jang, and Bombay Building weren’t just offices. They were an ecosystem.

“You’d finish work at The Star, walk to Jang Street, and stop at 3 tea stalls on the way,” he said. “Every stall had a debate. Afghan war, Zia, PPP, MQM. Reporters from different papers argued, and then went back and wrote better stories because of it.”

He said that culture of cross-paper debate is missing today. “Now we are in silos. We tweet, we post, but we don’t argue face to face over chai.”

Get the News, Don’t Become the News: Covering political upheavals, martial laws, and Karachi’s ethnic politics meant living with fear, he admitted.

“There were days we couldn’t put our bylines,” he said. “There were days we wrote ‘Staff Reporter’ because the story was too sensitive. But we still wrote it.”

He told young reporters that courage then didn’t mean being reckless. It meant being responsible. “You had to get the facts right, because one wrong line could start a riot or get someone killed. We were told: get the news, don’t become the news.”

What He Misses Most: When asked what he misses most about old journalism, Abbas didn’t say money or fame.

“I miss the time,” he said. “Time to think, time to verify, time to sit with a source for 2 hours. Today we don’t have time. We have notifications.”

He added that he also misses bookstores near newsrooms. “After filing, we’d buy a book. Now after filing, we scroll.”
The Breaking of Trade Unions: Abbas also turned to the decline of press unions.
“We had strong trade unions once,” he said. “They fought for wages, for safety, for press freedom. But they were deliberately divided by a plan. Once the unity broke, the bargaining power of journalists weakened.”
He argued that fragmentation didn’t just hurt salaries. It hurt solidarity. When journalists stopped speaking with one voice, it became easier to pressure them individually.
He also noted the decline of student unions. “Today there is no ban on student unions, but you won’t find one in any educational institution. Fear and our own motives have cultivated that silence over the years.”
The Editor Is Gone, And So Is the Time to Think
Abbas’s sharpest critique was reserved for the present.
“Today journalism has eliminated the institution of the editor and gatekeeping,” he said. “Every news today is breaking news. The competition to be first has killed the discipline to be right.”
He worried about young reporters working without newsroom debate or editorial pushback.
“We used to kill 10 stories for every one we published,” he recalled. “Now we publish 10 to get one right. That’s the reversal.”
His advice was simple: go back to basics. Talk to people. Sit in courts. Walk the muhalla. Verify before you post. Protect credibility, because once lost, it takes generations to rebuild.
Censorship Itself Spreads Disinformation: Abbas also spoke about censorship and its unintended consequences.
“Censorship itself spreads disinformation,” he said. “Every government must learn to avoid misinformation by letting the correct and true story flow. The more bans you put, the more disinformation will disseminate.”
He argued that attempts to control news only create a vacuum that rumors fill. “If you want people to trust the news, don’t hide it. Let journalism do its job of verification.”
An Evening with Mazhar Abbas: Senior journalist Rana Aqeel of Geo TV summed up the mood:
“Mazhar spoke of spending his childhood in Hyderabad, of the friends and teachers he had in school. He recalled how, after moving to Karachi, an actor became his college fellow and another his peer at Karachi University. He talked about his active role in student politics, and his continued support for it even today.”
For an audience used to hearing his political and social analysis on TV channels, these personal memories were a refreshing change. It turned a hot summer evening into a pleasant breeze.”
Reporting from the Ground, Not from X: Abbas also announced to publish books on his memoirs which would be treasure in history for generations to come. As people filed out of the KPC Najeeb Terrace, the conversation continued in small groups. Some talked about Mazhar’s art of speaking. Others about Benazir’s court appearances. A few asked him about his first story or took selfies with him.
What lingered wasn’t just politics or headlines. It was the image of a Karachi where coffee, books, and newsrooms were part of one culture. And the reminder that journalism is not just about reporting what happened today. It’s about remembering what we lived through – including the threats, the raids, and the resilience – so we don’t lose the values that made the work worth doing.

The post From Bombay building to bullet threats: Mazhar Abbas remembers at KPC series “Jo Hum Pe Guzri” appeared first on The Financial Daily.

Sir Anthony Hopkins: ‘It’s Such a Miracle Being Alive’

TFD — Mon, 03 Nov 2025 08:30:33 +0000

Few people can say they have had a private piano recital by Sir Anthony Hopkins — but that is exactly what happened when a BBC team met the double Oscar-winning actor in Los Angeles.

At a grand piano in a Beverly Hills hotel, the man who terrified audiences as Hannibal Lecter in The Silence of the Lambs, moved them as the butler in The Remains of the Day, and broke their hearts in The Father, played a haunting piece he called Goodbye. Music, poetry, and Shakespeare seemed to pour out of him naturally — an artist in the truest sense.

Sir Anthony and Jodie Foster both won Oscars for their roles in The Silence of the Lambs

The occasion was the publication of his autobiography, We Did OK, Kid, an unflinchingly honest account of a Welsh boy once bullied and dismissed as a failure who became one of Britain’s most acclaimed actors.

Now 87, soon to turn 88, Hopkins reflected on his life with characteristic humility: “I couldn’t have planned any of this. Every morning I wake up and think, ‘Hello, I’m still here,’ and I still don’t get it.”

To him, life itself is the real miracle. “It’s such a miracle being alive,” he said softly. He finds the human condition endlessly fascinating: “How can you produce Beethoven and Bach — and then Treblinka and Auschwitz?”

That fascination with duality has shaped his entire career.

The Making of an Actor

Hopkins’ big break came when Peter O’Toole urged him to audition for The Lion in Winter (1968), where he played Richard the Lionheart opposite Katharine Hepburn. At the time, he was part of Laurence Olivier’s National Theatre but felt out of place. “I didn’t want to stand on stage holding a spear for the rest of my life,” he laughed.

Hepburn gave him the best advice of his career: “Just speak the lines. Don’t act — just do it.” He took it to heart, adapting effortlessly to the intimacy of the camera.

Hopkins shuns grand talk about “the craft” of acting, but his approach is disarmingly simple: “Be still. Be economic. Don’t act or twitch around. Simplify, simplify, simplify.”

His method has yielded some of cinema’s most memorable performances — from the empathy of Dr. Treves in The Elephant Man to the chilling calm of Hannibal Lecter.

When playing Lecter, Hopkins instinctively understood that “less is more.” He portrayed the character with quiet menace: “Don’t take your eyes off the person — that’s terrifying.” He admits with a smile that he borrowed Lecter’s hiss from Bela Lugosi’s Dracula after seeing the 1931 film as a boy.

Sir Anthony, a ‘little confused boy’ by his own recollection, with his father at Aberavon Beach in 1941

From Pain to Power

The memoir reveals the painful roots of Hopkins’ intensity. Bullied at school for his appearance and demeaned by teachers who called him a “dunce,” he developed an inner core of anger and determination.

“It gave me a core of resentment and revenge,” he said. “One day, I told my parents, ‘I’ll show you both.’”

When he won his first Oscar for The Silence of the Lambs in 1992 — exactly 11 years after his father’s death — he called his mother in Wales and told her, “I guess I did OK.”

But the journey was far from smooth. Hopkins battled alcoholism for years, lashing out at colleagues and loved ones. “That’s the ugly side of alcoholism,” he admits. “It brought out a brutal side of me.”

In December 1975, he experienced a turning point after waking from an alcoholic blackout behind the wheel. “Something said, ‘It’s all over — now you can start living.’ The craving left, and it never came back.”

His first Alcoholics Anonymous meeting was another revelation. “They were all misfits like me,” he recalls. “We all felt we didn’t belong. But I realised — I’m not alone.”

A Complex Mind

Hopkins writes that his wife, Stella, believes he is on the autism spectrum — something he considers “likely right,” given his ability to memorise scripts and his emotional detachment. But he simply calls himself a “cold fish.”

The label, he says, began as self-protection. “I’d just stare people out. You withdraw into yourself — it’s your only defence. You think, ‘You can’t hurt me.’ That’s a power.”

Yet, behind that calm exterior lies deep empathy. Discussing the current state of the world, he becomes animated: “The world has always been a place of turmoil. But if we keep going this way — with hatred, division — we’re dead. Nobody’s allowed to have an opinion anymore. That’s fascism.”

His advice is simple and profound: “Stop beating each other up over ideas. They’re only ideas — and we’re all going to be dead one day.”

Regrets and Redemption

When asked about regrets, he doesn’t hesitate. “People I’ve hurt over the years, the stupid things I did.”

He remains estranged from his daughter Abigail, whom he left when she was a year old. “After realising I was unfit as a father, I vowed never to have more children,” he writes.

The pain resurfaces when he recalls playing King Lear in his 80s. The line “I did her wrong” hit him harder than any he’d spoken. “I began to cry — as Lear, but also as myself.” He hopes Abigail knows “my door is always open to her.”

Reflection and Resilience

At 87, Hopkins is both reflective and grateful. “Most of my friends have died,” he says. “I hope to be around a little longer — but even if not, I had a good time.”

He recounts how his LA home was destroyed by fire earlier this year, along with two beloved pianos. Yet, sitting at a new one, he plays with joy.

As we leave the hotel, he waves to fans who recognise him. “People think actors are special,” he laughs. “We’re not at all.”

Still, there’s no denying his greatness. Hopkins is a rare blend of intellect, artistry, and humility — a man equally fluent in Shakespeare and self-reflection.

He ends our meeting by reciting Ernest Dowson’s wistful line: “They are not long, the days of wine and roses.”

Then, almost to himself, he muses: “What are we doing here? We can’t explain ourselves. We may have fancy ideas, religious or scientific — but what’s it all about? We’re nothing, and yet we’re everything.”

We Did OK, Kid by Sir Anthony Hopkins is published on November 4.

The post Sir Anthony Hopkins: ‘It’s Such a Miracle Being Alive’ appeared first on The Financial Daily.

HUM SUB – a patriotic masterpiece

Webmaster — Thu, 31 Jul 2025 22:52:53 +0000

Mubasher Mir

As the curtains draw open on August 14th, Pakistan and World’s cinematic landscape is set to witness a monumental shift with the release of “HUM SUB,” a film that embodies the very essence of patriotism and national unity. Conceived by the visionary producer Azhar Qasmi, this cinematic masterpiece promises to leave an indelible mark on the hearts of audiences nationwide.

A Theme of Unity in Diversity: “HUM SUB” celebrates the beauty of diversity that defines Pakistan, United we stand, Divided we fall. The film’s narrative thread weaves together the stories of individuals from different backgrounds, cultures, and ethnicities, showcasing how they come together to form a unified whole. This theme is a powerful reflection of the country’s founding principle – that despite our differences, we are all Pakistanis, united by our shared identity and aspirations.

The Power of a Shared Identity: The film’s portrayal of Pakistanis as one race, with a shared goal and heartbeat for the prosperity of the nation, is a poignant reminder of the country’s potential. By highlighting the importance of national unity, “HUM SUB” encourages viewers to look beyond their individual differences and come together as one people. This message is particularly relevant in today’s world, where divisions and conflicts often seem insurmountable.

A National Language, One Voice: The film’s use of Urdu as the national language is a nod to the country’s linguistic heritage. By communicating in a language that is understood and spoken by people from all walks of life, the characters in “HUM SUB” demonstrate the power of language to bridge cultural divides. This emphasis on Urdu as a unifying force is a testament to the country’s rich cultural legacy.

A Revival of Pakistani Cinema: HUM SUB” is not just a film; it’s a movement. By showcasing the country’s rich cultural heritage and promoting national unity, this film has the potential to revive the Pakistani cinema industry. With its engaging storyline, memorable characters, and powerful message, “HUM SUB” is poised to become a benchmark for future Pakistani films.

A Humanistic Approach: One of the standout aspects of “HUM SUB” is its humanistic approach to storytelling. By focusing on the emotional journeys of its characters, the film creates a deep sense of empathy and connection with the audience. This approach is a welcome respite from the formulaic, action-packed films that often dominate the box office.

Literary Merit: The film’s script is a masterclass in storytelling, with a narrative that flows like a rich, meandering river. The dialogue is crisp, engaging, and often poignant, revealing the complexities of the human experience. The film’s literary merit is a testament to the producer’s commitment to quality storytelling.

A Unique Response: Given the film’s powerful theme and engaging narrative, it’s likely that “HUM SUB” will elicit a unique response from audiences. By promoting national unity and celebrating the country’s diversity, the film has the potential to inspire a sense of pride and ownership among viewers. As the film makes its way to theaters nationwide, it’s clear that “HUM SUB” will be a game-changer for Pakistani cinema.

In conclusion, “HUM SUB” is a film that will leave a lasting impact on Pakistani cinema. With its powerful theme, engaging narrative, and humanistic approach, this film is a must-watch for anyone interested in promoting national unity and celebrating the country’s rich cultural heritage. As the curtains draw open on August 14th, it’s clear that “HUM SUB” will be a cinematic experience unlike any other.

Don’t miss this film! “HUM SUB” is a cinematic masterpiece that will leave you feeling proud to be Pakistani. With its powerful theme and engaging narrative, this film is a must-watch for anyone interested in promoting national unity and celebrating the country’s rich cultural heritage.

A Cinematic Masterpiece: HUM SUB: The upcoming film HUM SUB promises to be a groundbreaking cinematic experience, boasting an impressive ensemble cast of talented artists. The film features a stellar lineup, including Saud, Jawed Sheikh, Sajjad Hassan Aly Ali, Javeria, Noman, and Junaid, among others.

A Patriotic Prelude: The film’s opening sequence sets the tone for a powerful narrative, featuring the iconic voice of Qari Zahir, who had the privilege of being the first voice of Pakistan on August 14th, 1947. This thoughtful touch pays homage to the country’s rich history and cultural heritage.

Artistic Excellence: The artists in HUM SUB deliver unique performances that bring depth and nuance to the film’s narrative. Each actor brings their character to life with remarkable skill, creating a truly immersive cinematic experience. The film’s humanistic approach to storytelling is a testament to the artists’ dedication to their craft.

Cultural Significance: The film’s cultural significance cannot be overstated. By showcasing the country’s rich cultural heritage and promoting national unity, HUM SUB has the potential to inspire a sense of pride and ownership among audiences. The film’s literary merit is a testament to the writer’s skill and dedication to storytelling.

A Masterpiece in the Making: With its talented cast, powerful narrative, and cultural significance, HUM SUB is shaping up to be a masterpiece in the making. The film’s release is eagerly anticipated, and it’s clear that it will leave a lasting impact on Pakistani cinema.

The post HUM SUB – a patriotic masterpiece appeared first on The Financial Daily.

How much does YouTube pay for 100 thousand views?

Monitoring desk — Tue, 31 Dec 2024 10:03:42 +0000

Parth Karia

How much does YouTube pay for 100 thousand views?

I was paid 20$ for 100k views. I purchased toothpaste and toilet paper from this money. As food was costly.

Nove 2022 updates as shorts are getting more engagement, revenue of longer videos has dropped more. I purchased toothpicks & using tap water now.

So for 200K views = 20$

Category – Entertainment

Avg view duration – 1min14sec

Credits: Quora

The post How much does YouTube pay for 100 thousand views? appeared first on The Financial Daily.

FUCHSIA Awards 2024 – And The Nominees Are…

Monitoring desk — Wed, 25 Dec 2024 06:49:48 +0000

The FUCHSIA Awards 2024 honor the stars, directors, and writers who have captivated audiences with their performances and storytelling this year. From iconic dramas to unforgettable characters, these nominees represent the best of the best in the entertainment industry.

Best Drama 2024

These dramas set the bar high with their gripping storylines, stellar performances, and lasting impact on viewers.

Kabhi Main Kabhi Tum
Gentleman
Ishq Murshid
Khaie
Jaan-e-Jahan
Burns Road Kay Romeo Juliet
Mannat Murad
Radd
Zard Patton Ka Bunn
Noor Jahan

Best Actor (Male)

The Best Actor category celebrates the leading men who captivated us with their incredible performances.

Humayun Saeed – Gentleman
Fahad Mustafa – Kabhi Main Kabhi Tum
Hamza Ali Abbasi – Jaan-e-Jahan
Bilal Abbas Khan – Ishq Murshid
Hamza Sohail – Burns Road Kay Romeo Juliet
Faysal Quraishi – Khaie
Sheheryar Munawar – Radd
Talha Chahour – Mannat Murad

These categories reflect the diversity and talent in Pakistan’s drama industry this year, offering something for everyone—from powerful leads to compelling narratives. Who will take home the trophy?

To Keep Updated Visit & Follow our Facebook Page Or Our Website

The post FUCHSIA Awards 2024 – And The Nominees Are… appeared first on The Financial Daily.