From a household steeped in music to the bright lights of Coke Studio and Pakistan Idol, Simal Nafees is carving her own identity in Pakistan’s music scene. Born into a renowned musical family, she has navigated expectations, creative challenges, and the pressures of public performance to emerge as a singer with a distinctive voice and artistic integrity. In this interview, Simal reflects on her journey, her inspirations, and the milestones that have shaped her growth as a performer and as an artist.

Q1. How did music become your calling and which people, sounds or cultural influences shaped your desire to become a singer?

I come from a strong musical lineage. My grandfather, Ustaad Fateh Ali Khan, was a highly respected sitar maestro of the subcontinent who devoted his life to music, and my father continued that legacy. Music was innate for me, a part of my upbringing. I grew up seeing my father practise the sitar in the drawing room, and we would listen and absorb it as children.

My mother also played a significant role. At home, she would play legends such as Iqbal Bano, Malika Pukhraj, Farida Khanum and Mehdi Hassan, along with Indian greats like Lata Mangeshkar and Asha Bhosle. Music was always playing in the background; it became inseparable from our lives. At the same time, my father exposed us to Western music — jazz, Whitney Houston, Mariah Carey and ABBA. I vividly remember him playing Dancing Queen and I Have Nothing, completely immersed in the experience. Watching his passion shaped my own connection to music.

Q2. What challenges have you faced in your musical journey so far, creatively, professionally and personally? How do you stay motivated and grounded when navigating them?

Creatively, my main challenge was discovering my own musical identity. I grew up with very strong influences from my parents, so when I began exploring genres such as pop, Western music and even rap in my early teens, it took time to understand what truly resonated with me. I also had to balance music with academics, as my education was always prioritised, which meant there was a period when I stepped away from formal musical training.

Professionally, the greatest challenge has been establishing my own identity while being known as my father’s daughter. I am incredibly proud of him, but that comes with immense responsibility and high expectations. I often felt there was no room for mistakes, whether in my performance or personal conduct. Creating my own space in the industry required resilience and self-belief.

Personally, stepping out of his shadow was important. As the eldest daughter, I was raised in a protective environment. Moving to Islamabad alone for my A-Levels helped me gain independence, confidence and clarity about who I am — both as a person and as an artist.

Q3. How would you describe your artistic identity and are there particular themes or stories that consistently shape your voice and style?

My artistic identity is rooted in sincerity and intention. For me, music is sacred — it is not something I pursue purely to earn money. I am educated, I work full-time, and I hold a Bachelor’s degree in Filmmaking from an institution affiliated with Collège de Paris. My profession provides financial stability, which allows me the freedom to approach music with integrity rather than compulsion. I never want to reach a point where I accept a concert solely for financial reasons and end up performing songs that do not resonate with me.

To me, good music is music that I genuinely enjoy and can share with others in a respectful environment. While I have great respect for those who earn their livelihood through music, I have consciously chosen to keep my relationship with it personal and meaningful. An experience in my teenage years shaped this perspective profoundly. After performing at Coke Studio in 2016 at the age of sixteen, I received several opportunities, including international concerts. At one particular event, I realised that the audience was disengaged, and some individuals behaved inappropriately while I was performing. I was very young, and standing on stage, I felt deeply uncomfortable and disheartened. It made me question whether I wanted to place myself in situations where my craft was not respected.

For a while, I withdrew and became more reserved. However, that experience clarified something important: I never want financial pressure or public validation to dictate my art. Music, for me, is an escape, a source of joy and expression. I want to protect that purity. That philosophy continues to shape my voice, my choices and the kind of spaces in which I choose to perform.

Q4. You’ve released music that resonates emotionally with listeners. Which milestones in your musical journey feel most meaningful to you so far?

I have released several songs and collaborated with artists such as Arshad Mehmood sahib, but for me, milestones are often personal moments of validation rather than grand achievements. One of the most meaningful was performing with the late Zia Mohyeddin sahib, who was known for his high standards. I was only eighteen, and when he expressed his approval of my performance, it meant a great deal to me. Another milestone — one I am still striving towards — is receiving open praise from my father. As my teacher, he is rigorous and rarely offers direct compliments, which perhaps keeps me grounded.

Performing on Coke Studio at sixteen was a major turning point, and more recently, receiving a standing ovation from Rahat Fateh Ali Khan on Pakistan Idol, along with his generous praise after my performance of a Noor Jehan classic, felt like a truly defining moment in my journey.

Q5. What motivated you to audition for Pakistan Idol and how did standing on that stage change your perspective on your music, and growth as a performer?

Auditioning for Pakistan Idol was a turning point in my life. Initially, I didn’t even think I would make it past the first round. At the Arts Council audition I saw so many incredibly talented singers, and I felt nervous — not just about the competition, but also about proving that my opportunities were earned through my own efforts, not just because I am my father’s daughter. I was dealing with imposter syndrome, questioning whether people genuinely appreciated my talent.

The decision to audition actually came the night before. My mother was my biggest motivator; she reminded me that there is no age limit for dreams and encouraged me to just go for it. I was 25 at the time and worried I might be too old or outshone by younger singers, but her support gave me the courage to take that step.

Even though I didn’t make the top 16, the response to my audition was overwhelming. I received thousands of messages and comments praising my voice, which completely shifted my perspective. For the first time, I truly believed in my craft and felt validated as an artist. That experience gave me confidence, ended much of my self-consciousness, and marked a significant moment of growth as a performer.

Q6. Reality shows can be high pressure. How did you manage nerves, expectations and the public spotlight while staying true to your voice?

Reality shows are definitely high pressure — from choosing the right song to thinking about what will appeal to the public. For me, though, the focus was never on pleasing everyone; it was about performing what I could do well and what I truly connected with.

For my first performance, I chose Tum Sung Naina Lage by Rubina Badar, a relatively unknown song for today’s generation. I felt a deep connection to it, and that connection allowed me to perform confidently and authentically. The audience responded positively, and the song even gained renewed popularity online after my audition. That experience reinforced my approach: focus on what I do best, stay true to my artistic choices, and enjoy the process. That’s how I managed nerves and stayed grounded in the spotlight.

Q7.  Has audience reaction ever influenced or changed the way you think about a piece you created or performed?

Yes, especially when I was younger. After performing on Coke Studio, my sister and I toured with our girl band, opening for Junoon in North America, Dubai and the UK — including a performance at Wembley Stadium. I was overwhelmed just knowing I would perform there, imagining all the artists who had graced that stage before me. During those tours, we often chose songs that would energise the audience — songs people could dance to, like Jugni — to hype up the crowd before Junoon came on. It was exciting and fun, and I enjoyed sharing the stage with my band and the audience.

Now, however, my perspective has shifted. I prefer to perform music that I genuinely enjoy, rather than trying to please the crowd. If that means the audience is smaller, I am okay with it. My connection to the music comes first.

Q8. Apart from singing and performing, are you involved in any songwriting, collaborations or creative projects that you’re especially excited about?

I’m very excited about my music and collaborations. Working with Arshad Mehmood and my father, for example, is always inspiring because of the technical depth and the legendary experience they bring. I’m also part of an initiative called Voice of World, led by singer Samra Khan, where I have the opportunity to work with incredibly talented young women. I hope to collaborate with many of them in the future. Beyond collaborations, I’m focused on my own original music and developing new material. I’m open to creative projects of all kinds, and I’m excited for what the future holds.

Q9. When you look back from where you began and where you are today, what stands out most to you? 

What stands out most is coming into my own and being recognised for my talent, not just as my father’s daughter. It took a long time to step out of that shadow, and reaching this point — where people believe in me and my work — feels incredibly rewarding. I also feel proud that this journey has paved the way for my sisters, who are musicians as well. Seeing them have opportunities and thinking about how I can collaborate with them excites me for the future.

Another significant shift has been in the perception of our extended family. Initially, there were doubts about women pursuing music, but now I feel respected and supported for the work I do. That acceptance, along with being able to protect my artistic integrity, makes me proud of how far we’ve come.

The post Soaring with the Musical Notes – Simal Nafees appeared first on Glam Magazine.

In our society, a divorced woman is often treated as an outcast. The prevailing belief is that the fault in a failed marriage lies mostly with the woman, and this perception subjects her to relentless societal scrutiny. Her personal life, prospects of remarriage, and even her daily routines are scrutinized under a harsh public gaze.

It is against this backdrop of societal pressure, personal loss, and heartbreak that drama “Muamma” begins its gripping narrative. Spanning 30 episodes, this series is directed by Saqlain Khan, written by Imran Nazir, and produced by Momina Duraid. The drama features a stellar cast, including Saba Qamar, Usman Mukhtar, Nimra Shahid, Syed Jibran and Maria Wasti, Muamma airs on HUM TV every Wednesday and Thursday at 8 PM, offering viewers a rich blend of suspense, emotional depth, and social commentary.

The story revolves around the enigmatic character of Jahan Ara. Surrounded by rumours and whispered speculations. The narrative is a kaleidoscope of human emotions, betrayal, survival, and redemption, providing viewers with an intense and immersive experience.

Jahan Ara is portrayed as an intelligent, shrewd, and cunning woman. Outwardly, she may appear innocent and empathetic, but beneath the surface lies a mind that strategizes with precision.

However, Jahan Ara’s life is far from easy. She navigates a world dominated by patriarchal norms and male authority, encountering challenges at every turn. Her father’s bias, her brother’s cruelty, and the betrayal of men around her have been recurring themes in her life. Her first marriage ends abruptly, with powerful feudal lord Sarmad orchestrating events to force her into a toxic union with him. This marriage becomes a nightmare filled with abuse, humiliation, and relentless cruelty. Yet, in these dark moments, Jahan Ara’s courage, patience, and intelligence begin to shine.

Through a twist of fate, Jahan Ara eventually exacts justice on Sarmad for his misdeeds. Seven years later, she returns as a strong, influential, and fearless woman, determined to confront life on her own terms. Her mission becomes exposing the betrayals and deceit of men and overcoming any obstacles that come her way. She is now the proud owner of a beautiful house, which she rents exclusively to newlywed couples. But beneath the surface, she quietly observes their relationships, looking for cracks and tensions a subtle yet powerful metaphor for her quest for justice and understanding human frailties.

Life, however, presents yet another challenge in the form of Shah Jahan, one of her tenants. The dynamics between Jahan Ara and Shah Jahan form a pivotal part of the drama. Their relationship, evolving amid tension, attraction, and mutual discovery, has the potential to transform Jahan Ara’s life in ways even she cannot predict. Each episode reveals new layers of intrigue, suspense, and emotional intensity, keeping viewers on the edge of their seats.

Muamma is not just a story of entertainment; it is a social commentary that fearlessly portrays the realities of a divorced woman in a conservative society.

Saba Qamar delivers a powerhouse performance as Jahan Ara. Her portrayal captures a spectrum of emotions from vulnerability and grief to courage and determination. Her ability to convey the subtleties of pain, intelligence, and moral strength has won the hearts of audiences within the first few episodes. Usman Mukhtar, Nimra Shahid, and the supporting cast contribute significantly to the drama, ensuring that every character is vividly realized and essential to the storyline.

Saba Qamar’s return to HUM TV after a long hiatus has been highly anticipated. She has previously delivered exceptional performances in acclaimed dramas such as Bunty I Love You, Maat, Dastaan, and Besharam, leaving an indelible mark on every role. In Muamma, she brings maturity, depth, and nuance, making Jahan Ara a character that viewers both admire and empathize with. Her presence ensures that the drama is not merely watched but experienced.

Beyond entertainment, Muamma carries a profound social message. It teaches that a woman who stands firm for her rights and confronts societal pressures can emerge victorious despite adversity.

Muamma is poised to become a classic, remembered not just for its gripping storyline but also for its social relevance and strong performances. It stands as a testament to HUM TV’s commitment to selecting compelling themes, producing high-quality content, and contributing to societal awareness. The drama is a vivid portrayal of courage, resilience, and justice, and it resonates across generations.

By presenting a woman’s struggle with honesty, sensitivity, and drama, HUM TV has set a benchmark for quality storytelling. Muamma is a triumph of narrative, performance, and social commentary a drama that will not only entertain but also educate, inspire, and provoke thought.

The post An Epic Tale of a Woman’s Struggle, Revenge, and Enduring Hope – Muamma appeared first on Glam Magazine.

“Art will always find a way to break through and create something new”

Ozlem Ozhabes – theatre director, performer, and lecturer on theatre’s power to challenge society and inspire change.

1. How did your visit to Pakistan come about? Also give us some insight into your play.

I live in Abu Dhabi, and recently, one of the World Culture Festival organizers and the technical team members named Azaib invited artists to participate. He personally approached Bill Bragin, the curator and director of the NYU Abu Dhabi Art Centre, who then recommended my play. Azaib contacted me and extended an invitation to participate.

The play is called Subj:medeA and it tells the story of a goddess who is betrayed by her husband. In her act of revenge, she kills all her children. As a mother myself, I am deeply interested in how society places immense expectations on women—how they are supposed to be and behave, and how they often become trapped in their homes without much support. Having become a mother myself, I’ve experienced these pressures first-hand. This inspired me to create a show about a mother who takes the most extreme, tragic action – she commits the worst possible act. I wrote the play myself, with some assistance.

• How did your journey into theatre and acting begin?

My story isn’t a typical one. I’ve always been shy and introverted. As a child, I didn’t like much attention. In high school, I was planning to study political science, and also became part of a youth group. We spent a lot of time in rehearsals, and I think what drew me into theatre was the collective aspect; the idea of creating something together, working on a piece not just for ourselves but for the sake of art. The trust and transparency required to connect with twenty people at once felt like magic to me. That collaborative nature is what kept me in love with theatre.

I then studied dramaturgy and became part of a theatre company, assisting with directing, working with lights, cleaning stages – you name it. The collective spirit of theatre is what continues to inspire me.

• Why in particular did you study feminist dramaturgy?

I didn’t feel the need to call myself a feminist until I became a mother even though I consistently defended women’s rights. So, the question for me was: what’s wrong with calling myself a feminist? If you look at theatre history, it’s full of male names—male characters, male perspectives, male-dominated viewpoints and behaviours. Unless you explicitly call it feminist, you’re not making a statement. Would I simply call it feminist? No. What I hope for is a world without discrimination, where everyone is free, and where everyone including professors, understand their boundaries. On the stage, we often need to raise consciousness. I wish feminism was irrelevant, and my play didn’t exist but, in my performance, here, I had audiences from Algeria, Pakistan, Mozambique, Turkey, Azerbaijan, Ukraine and other countries, and I realised how much these themes resonated across different cultures. It’s so relevant that I feel I have to explicitly call myself a feminist.

• You have been involved in diverse projects across different countries including Florence, London and Turkey, and now in Abu Dhabi. How have these experiences shaped your storytelling methods?

In Florence, I mainly taught, and I found that Italian actors are very happy and expressive. In Turkey and the broader Middle East, restrictions on what stories can be told and what can be openly discussed influence the form of storytelling. Stories and subtleties often become less important, and bigger concepts take precedence. In London, the environment is driven by capitalism, technology, and a fast-paced culture and you have to learn the rules quickly, know your place, and understand which plays or roles are accessible.

Though my heart still beats in Turkey, I find places like Abu Dhabi or Pakistan, where I’ve only been for a short time, share a similar curiosity. I see in the students’ eyes the same questions I had at their age.

• You’ve directed a wide range of plays, from classics like Romeo and Juliet and A Midsummer Night’s Dream to contemporary works. How did that come about?

These aspects are a key part of my teaching practice because theatre of Turkey has historically been heavily reliant on translated texts and classics. Therefore, students need to engage deeply with these texts and learn how to position themselves within them. Moreover, these texts are considered “classics” for a reason—they resonate universally. They offer students an opportunity to view them as exemplary works from the West, and within them, students recognise elements of their own histories, families, and peers. Once students begin to see their own histories reflected in these texts, the works start to truly resonate on a deeper level, transforming them from distant classics into meaningful reflections of their own lives.

• Photo Credit: Anna Jopp
• You started Datça Theatre Summer Camp and have been the director of ACT, a project focused on artistic freedom. What inspired you to start them?

I am someone deeply obsessed with systems, yet I also believe that systems are inherently destined to fail. Despite their inevitable shortcomings, systems can produce something meaningful and inspiring over time. Hence Datça, a two-to-three-week camp, was my attempt to bring together various acting techniques into a cohesive approach. Later, I linked this to a core principle: it’s all about the artist – finding vulnerability, embracing fragility and discovering freedom. We engaged in intensive training, working with nature, classical texts, and monologues through clown work and Linklater method. It was about discovering creativity through extremities and pushing boundaries. ACT, a youth theatre, is particularly significant because it touches on the culture of theatre in the country. Instead of simply teaching young people what to do, we empowered them to create—giving them agency. The initiative aims to train youth as future change-makers and trainers, bringing together participants from three cities: Diyarbakır, İzmir, and Istanbul. Politically, it was especially meaningful to gather young people from different regions and backgrounds to hear their childhood stories and building connections.  

• According to what you’ve observed so far, what are some of the strengths and weaknesses of theatre in Pakistan?

I haven’t seen a lot of Pakistani work, but what I have seen is very powerful. It reminds me of my students in Turkey. However, I’ve noticed that most of the directors’ names are male. As a feminist, I believe that to truly strengthen any artistic field, it’s essential to hear women’s voices and perspectives.

• What are some of the skills that you consider are essential for an actor?

Reading texts, understanding what you read, and delivering it effectively from your positionality – these are essentials. Take Hamlet for example, he is a 17-year-old boy struggling to make sense of the world, and then he loses his father. The image of that father, and the uncertainty surrounding it, deeply influences him. To portray Hamlet convincingly, you need to grasp his dilemma and interpret his lines with empathy. Delivering the text isn’t just technical; it’s about knowing where your centre is.

• Considering how rapidly technology is transforming entertainment and communication, how do you envision the future of theatre and performing arts? Do you think theatre risks becoming obsolete – especially among younger generations?

I am quite skeptical about technology, yet I try to remain hopeful. The most progressive shows I’ve seen in recent years come from very young artists in Belgium, Amsterdam, Tunisia, and Iran—where they have created immersive experiences that are quite wild. For instance, audiences might be blindfolded and have to touch objects or engage in sensual experiences, lying down while performers approach them and communicate. You see, as human beings, the more we distance ourselves from direct contact, the more our need for connection persists.

Yes, just like the industrial revolution, this technological revolution is also frightening as this is leading to a dangerous disconnect. Today, we see children suffering and dying, yet we seem indifferent, only witnessing it through screens. If humanity isn’t strong enough to unite around these issues, then theatre becomes just a trivial addition.

But I recently saw a show in Avignon by a Portuguese director: a father and daughter, presented in a very theatrical way in its classical sense. The daughter moves to Mars without telling her father, and they exchange voice messages. It is theatre in its simplest form – two people communicating through voicemails. But it had a huge impact on everyone in the audience. That kind of work gives me hope that even if it’s not theatre, it will be something else because every era creates its own art form. Art will always find a way to break through and create something new.

The post Theatre Beyond Borders appeared first on Glam Magazine.

The Masala Family Festival, held at the Karachi Expo Centre on 27 and 28 December, drew thousands of visitors from across the city. Thousands of families flocked to the two-day HUM Masala Family Festival, enjoying shopping, an food court, children’s activities and spectacular live concerts. Organised by HUM Network in Karachi, the Masala Family Festival has evolved from a one-off event into a cherished annual tradition—one where families come together, spend an entire day immersed in entertainment, and return home satisfied. Like the previous years, Expo Centre was transformed into a vibrant hub of colour, flavour and festivity.

The two-day festival offered attendees a diverse selection of food, pet shows, a car show, games, shopping and family-friendly activities. Visitors could be seen savouring a variety of cuisines, taking part in games, browsing stalls and meeting their favourite chefs and artists throughout the day. Through its festivals, HUM Masala presents live cooking sessions, talent hunts, celebrity meet-and-greets, interactive games with prizes, and electrifying music concerts by renowned singers.

As always, discounted products proved to be a major highlight, attracting large crowds to the hundreds of stalls set up in the venue. Upon entering the Expo Centre, a stunning display of vintage cars immediately caught the attention of visitors. The dedicated children’s zone, complete with rides and games, delighted younger guests, while animal lovers enjoyed seeing parrots, cats, dogs and other animals up close. Meanwhile, the heavy bike exhibition remained a popular attraction among the younger visitors.

Renowned HUM Masala cooking experts Shireen Anwar, Mehboob Khan, Saad Butt, Zarnak Sidhwa, Rida Aftab, A.R. Jamali and Rafia conducted live cooking demonstrations. They were joined by Abeel Javed and Kiran Khan, while Dr Noreen Batool’s team presented live skincare demonstrations.

Visitors had the opportunity to meet well-known comedians and personalities including Hanif Raja, Maham Aamir, Javeria Saud, Umar Alam and Nimra Shahid. A fashion show titled “Khayaal”, presented by Shaista Hasan was popular too. On both days, Umar Alam kept audiences engaged with lively game shows on the outdoor stage, with thousands participating enthusiastically despite the chilly weather. As evening set in, power-packed performances by Ashir Wajahat, N.S. Chauhan, Khudgharz, Ali Tariq and Mudabbir Aziz Jamal captivated the crowd and brought the festival to an enjoying close.

The Masala Family Festival has established itself as a regular family-oriented event in Karachi and Lahore, offering accessible entertainment across a range of activities. Despite high visitor numbers, the festival maintains organised operations and a family-friendly environment.

The post Karachi Hosts Pakistan’s Largest Family Festival appeared first on Glam Magazine.

The Pakistani drama industry has always been a place where magic happens when the right blend of artists, stories, and vision come together. Every once in a while, audiences can sense that something extraordinary is about to arrive, and HUM TV’s upcoming project “Jin Ki Shaadi, Un Ki Shaadi” is one of those rare productions. Starring the internationally acclaimed Wahaj Ali and the immensely talented Sehar Khan in their first-ever on-screen pairing, and helmed by the masterful direction of Saif e Hasan, the drama promises to captivate viewers with its unique story, compelling characters, and grandeur.

Wahaj Ali, who began his acting journey in 2015 with Ishq Ibadat, has risen to become one of the most admired actors in the country. His remarkable ability to bring depth, truth, and emotional intensity to his roles has earned him fans not just in Pakistan but across the globe. With memorable performances in dramas such as Dil Na Umeed Toh Nahi, Bikhre Moti, Fitoor, Mujhe Pyaar Hua Tha and Jurm, along with his portrayal of Imam Rumi in Jo Bichar Gaye, he has established himself as an actor of great versatility. Blockbuster serials like Ehd-e-Wafa and Tere Bin further elevated his stardom, making him one of the most sought-after names in television today. His contribution to cinema with Superstar added another dimension to his career, proving that his artistry transcends mediums.

Opposite him stands Sehar Khan, a name that has charmed audiences with her innocence, vibrance, and natural screen presence. Starting her career in 2018 with Sanwari, Sehar quickly earned recognition for her engaging performances and versatile roles. Born in Islamabad, she has worked in popular dramas such as Rang Mahal, Zakhm, Mushk, Fairy Tale and Tan Man Neel o Neel, each showcasing a different shade of her acting talent. The phenomenal success of Fairy Tale brought her into the limelight like never before, with her chemistry in the drama becoming a talking point everywhere. The appreciation translated into a well-deserved HUM Award in 2024 for Best On-Screen Couple, further solidifying her place as one of the brightest young stars of the industry.

The drama comes to life under the direction of Saif e Hasan, whose name is associated with some of the finest productions in Pakistani television. Starting with Dil Ki Madham Boliyan, he has given the industry masterpieces such as Sang-e-Mar Mar, Sammi, Ehd-e-Wafa, Parizaad and Tan Man Neel o Neel. Known for his ability to weave stories that are emotionally charged and visually striking, Saif e Hasan has won numerous accolades, including Lux Style Awards, for his outstanding contribution to the craft. His vision promises to make Jin Ki Shaadi, Un Ki Shaadi not just another drama, but a memorable experience for viewers.

What makes this drama stand out is its unusual yet refreshing storyline. It is not just a tale of love, but a satire laced with humor, fantasy, and raw emotions. The title itself hints at its clever theme, portraying how society often obsesses over others’ marriages while overlooking their own realities. The narrative follows two brothers, Asad and Ali, who, in accordance with their late parents’ will, are compelled to live in their ancestral mansion. Once there, they encounter a family of jinns, which sets the stage for a rollercoaster of events. The twist arises when the unmarried brother, played by Wahaj Ali, is bound by a condition: he must marry within six months or lose his inheritance. What unfolds is a fascinating blend of comedy, suspense, and emotion, with a parallel love story between a jinn and a human adding further depth and intrigue. It is a story of love, loyalty, and the clash between human and supernatural worlds, crafted in a way that will keep audiences hooked.

Alongside Wahaj Ali and Sehar Khan, the drama boasts a stellar supporting cast including Arslan Naseer, Romaisa Khan, Sidra Niazi, Syed Jibran, and Nadia Afghan. With a strong lineup of performers, every character in the drama promises to leave an impression. The story has been conceived by Shamoon Abbasi and written by Syed Nabeel, whose script blends wit, emotions, and drama with seamless finesse. The production is in the hands of MD Productions, a banner that has consistently delivered quality dramas that resonate with audiences at home and abroad.

The on-screen pairing of Wahaj Ali and Sehar Khan has been a long-standing wish of fans, who have often expressed their desire to see the two together. With this project, that wish finally becomes a reality. Their combined star power, undeniable charisma, and acting prowess are expected to bring electrifying chemistry to the screen, making Jin Ki Shaadi, Un Ki Shaadi one of HUM TV’s landmark productions.

The drama premiered on 8th September and airs Monday and Tuesday at 8:00 PM on HUM TV. With its refreshing concept, powerful performances, and captivating direction, Jin Ki Shaadi, Un Ki Shaadi is entertaining audiences and leaving a lasting impression in the world of Pakistani drama.

The post Jinn Ki Shaadi Unki Shaadi – Where Jinns Meet Humans appeared first on Glam Magazine.

By Zurain Z. Imam

There are stars—and then there’s Humayun Saeed: Pakistan’s definitive leading man, an unstoppable force on screen and behind the camera. With a career spanning over three decades, Humayun Saeed is not only one of Pakistan’s most beloved actors but also a powerhouse producer and fashion entrepreneur. He is also the mastermind behind Six Sigma Plus, the production house that has reshaped the landscape of Pakistani television and cinema

Humayun Saeed steps back into the rom-com spotlight with ‘Love Guru’ (2025), a bold new venture both in front of, and behind the camera. Co-produced by his own Six Sigma Plus alongside ARY Films and Salman Iqbal Films, the film pairs him once again with Mahira Khan, reigniting their celebrated on-screen chemistry. This marks Humayun and Mahira’s third screen pairing, following ‘Bin Roye’ and Mahira’s buzzworthy cameo in ‘London Nahi Jaunga.’

In ‘Love Guru’ Humayun plays Adil—aka Hamza Abbasi—a smooth-talking, morally ambivalent matchmaker-for-hire. Tasked with sabotaging a wedding, he infiltrates the life of Mahira Khan’s Sophia, a London-based architect, only to find himself tangled in the emotional mess he orchestrates. It’s classic Humayun: charming, witty, and unexpectedly layered by a whirlwind of deception, chemistry, and unexpected emotional stakes. Humayun’s chemistry with Mahira remains a major draw, their banter crackling with both mischief and nostalgia. Critics applauded his “deadpan humour” and comedic finesse, even as some questioned if he’s aging out of the genre. But fans—and box office numbers—say otherwise.

Shot in Karachi and London with a budget nearing PKR 28 crores, ‘Love Guru’ is Humayun’s  most ambitious production yet. It celebrates cultural diversity, including Pashtun influences, and reflects his desire to tell big stories with a local heart. Humayun calls filmmaking in Pakistan “risky,” but he’s betting on love—and cinema.

‘Love Guru’ premiered in Lahore on Eid-ul-Adha 2025 and shattered opening records with PKR 29 crore domestically and raking in over PKR 55 crore globally in 15 other countries within nine days. From the UK to North America, UAE, and Australia, audiences embraced its feel-good tone and visual flair. Humayun’s  gamble on rom-coms paid off, once again positioning him as a genre trailblazer. Audiences celebrated ‘Love Guru’ as a ‘complete family entertainer’ with praise for comedic value, music, and cultural resonance while critics applauded cinematography by Suleman Razzaq, vibrant colour palettes, and sharp dialogue.

Says Humayun about his experience working in Love Guru and his chemistry  with Mahira, “Love Guru was a truly enjoyable experience. It was a fun film, with a great script written by Vasay Chaudhry, under the direction of Nadeem Baig and alongside my wonderful team. The comfort level on set was fantastic. I had the pleasure of working with a talented cast including Ahmed Ali Butt, Vasay Chaudhry, Ramsha Khan and of course Mahira Khan.”

Humayun credits his and Mahira’s comfort level and mutual respect for the effortless vibe they bring to the screen.”It had been a while since I worked with Mahira—the last time was in ‘Bin Roye’ in 2015, which was well-received by both the public and critics, especially our on-screen chemistry. Sharing the screen with her again was a pleasure. Mahira is a phenomenal actress, very committed and focused on her craft and she never throws tantrums. It’s always enjoyable working with someone like that. What made the experience even better was the friendship and comfort we share, which makes even the toughest scenes flow effortlessly.”

Off-screen and during promotions, Humayun kept it grounded not only playing a “love guru”—he had thoughts on love too. “It can happen at any age,” he laughed “But with one person at a time.” He remains candid about the pressures of aging on-screen. When online trolls questioned his and Mahira’s ages or looks, Humayun joked, “That overacting can never stop it’s been a part of her since childhood!” playfully referring to Mahira. ‘Love Guru’ isn’t just a hit—it’s a statement with Humayun continuing to champion locally-made content that connects globally. But where did the momentous journey of Pakistan’ indubitable superstar begin? Born on July 27, 1971, in Karachi, Humayun Saeed  hails from a well-educated and liberal Punjabi family and grew up in a household of five brothers, including Amir Saeed, Adnan Saeed, Babar Saeed and Salman Saeed, the latter who is also an actor. 

Humayun opened up about his early struggles. “I was 18 or 19 and there were many responsibilities on me. I started working alongside college, gave tuitions, but that wasn’t enough given the medical bills. My brother’s paralysis made me more responsible as I had to take care of the family.” A brilliant student, Humayun was Head Boy from 1986-87 at the not-for-profit Nasra School (alma mater to luminaries like Justice Mushir Alam and cricketer Wasim Bari) and  excelled in his studies and earned distinction throughout his academic career till matriculation, later graduating from St. Patrick’s College with a degree in Commerce.

Before the lights and cameras, Saeed has stated that he wanted to be a steward in PIA and had asked his father to approach  PR maven Frieha Altaf ‘s father who had a prominent position in PIA. Mr Altaf instead suggested Saeed join his son- in- law Nadeem Ahmed’s garment factory, where Humayun was eventually made a general manager and where he was happy working from 1991 to 1995 before joining the entertainment industry.

Acting wasn’t in his initial plans but fate intervened when his friend who was an actor took him to see director Tasneem Aslam, who was looking for a lead actor. Humayun was auditioned and accepted, but later got rejected, as the director said he was ‘miscast.’ The rejection only fuelled Humayun’s resolve to prove to the world that he could act.

Recalls Humayun about the genesis of his career in Entertainment, “My entry into acting was completely accidental, but I’m so glad life took me in this direction. Even now, I feel like a student of this craft—always learning, always evolving. No matter how successful you become as an actor or producer, there’s always more to discover. For me, this is the best profession in the world. It’s fulfilling on every level: creatively, emotionally, and yes, financially. It’s work, but it never feels like work.” In an earlier interview Humayun has said that at the start of his career his parents were against him acting and  did not approve of his showbiz career. But with the passage of time, they saw his passion and started supporting him. In order to embark on his new journey, Humayun decided to go into production with ‘Iqraar’  also acting in the TV play written and directed by Sikander Shah. Although ‘Iqraar’ was Humayun’s maiden venture, it did not get telecast until 1998.

Humayun’s actual television debut came in 1995 with ‘Karooron Ka Aadmi directed by Nadeem A. Khan ‘ but it was the PTV musical serial ‘Ye Jahaan’  (1996) produced by Tasneem Aslam and  his award-winning  role as a seductive intruder in Mehreen Jabbar’s ‘Ab Tum Ja Saktay Ho‘—opposite legends Sania Saeed and the late Khalida Riyasat in her last role —that turned him into a breakout star. Later that year, his chilling performance in Yasir Akhtar’s ‘Zeher’ cemented his status as a versatile talent.

When Samina Peerzada cast Humayun as the psychotic villain Zafar in ‘Inteha’, opposite Meera and Resham, Humayun took a bold professional risk—and it paid off.  He could have opted for the hero’s role, but preferred to play the villain which had more scope. The role earned Humayun his first National Award for Best Actor, and the haunting billboard image of him grinning devilishly between two sirens remains iconic.

Humayun’s second film, Sajjad Gul’s ‘No Paisa, No Problem’ did not do well at the box office, although he said he had enjoyed playing the character of a woman in the film.

During this time, Humayun continued doing TV productions alongside acting.
In the 1990’s Humayun partnered with founder and President of Hum Network Limited, Sultana Siddiqui with Friends Entertainment.

Reminisces Humayun of his long association with the trailblazing pioneer:
“I have had a long-standing association with Sultana Apa and I am especially grateful to her—she has been a tremendous influence in my life.
When I had my first production experience in America, it was by observing her in action on her own projects that I truly learned the essence of professionalism and dedication. My motivation and drive to approach work with passion and commitment come directly from Sultana Apa’s example. Hum TV stood by me in my early productions and gave me a platform to grow.”

In 2000, Humayun collaborated with Abdullah Kadwani to form Humayun Saeed-Abdullah Kadwani Productions which they later named 7th Sky Entertainment. Later, Humayun started his own production house along with Shehzad Nasib under the banner ‘Six Sigma Plus’ that produced a slew of successful serials and films, including the cult classic ‘Moorat.’

Finally, Humayun  started his own production, known as H.S. Production which produced the serial, ‘Tum Hi Toh Ho’, ‘Pehli Khwahish’ ‘Adhuray Khawab’, ‘Dil Wo Bay Mehar” and ‘Undekh’ Humayun’s  initial notable TV work as an actor includes ‘Mehndi’, ‘Doraha’ ‘Kabhi Kabhi Pyar Mein’, ‘Kaafir’, ‘Uraan’, ‘Hum Se Juda Na Hona’, ‘Ladies Park’ and guest roles in ‘Meri Zaat Zarra-e-Benishan’ and ‘Daam’.

To date and since the resurgence of Pakistani Cinema in 2013, Humayun has acted in 15 feature films including the Indian Bollywood movie “Jashan” in 2009 where he was given a negative role and Pakistani mega-hits like ‘Bin Roye’, ‘Punjab Nahi Jaungi’, and ‘Jawani Phir Nahi Ani’—the latter two breaking box office records and earning him the moniker “Box Office King.”

His film Jawani Phir Nahi Ani holds the record of being the fourth highest-grossing Pakistani film of all time. Jawani Phir Nahi Ani swept the ARY Film Awards ceremony with total of 17 awards, also earning him the award for the best male actor in a leading role, while his other film Punjab Nahi Jaungi has been declared as the second highest-grossing Pakistani film of all time and the highest-grossing film of 2017 in Pakistani cinema.

In 2018, he starred in the film Jawani Phir Nahi Ani 2. As of 2019, the film was the highest-grossing Pakistani film of all time. After its huge box office success, Humayun announced three more sequels and that the third film in JPNA franchise was in plans to be out “in two years”, one being written by Khalil-ur-Rehman Qamar and the other by Vasay Chaudhry.

On Eid ul Fitr 2022, Humayun appeared in Nadeem Baig’s London Nahi Jaunga alongside Mehwish Hayat.

When asked if he prefers acting on TV or on the big screen Humayun stoically says, “I enjoy acting in both TV and Film. Each requires a different skill set and craft. But producing and acting in films is my ultimate goal and I hope to consistently feature in entertaining films.” Humayun’s accolades include 22 prestigious awards, among them three PTV Awards, 11 Lux Style Awards, two ARY Film Awards, and two Hum Awards for his contribution to Pakistani cinema.

In 2020, Humayun returned to television and played the role of Danish in the drama serial Meray Paas Tum Ho, where he took all the credit of making it “the best serial ever made in history of Pakistan.” When asked in an interview which personality trait he had in common with Danish, he replied that he too was extremely patient.  Indeed his colleagues often praise Humayun for his calm and composed personality.

For his performance in ‘Meray Paas Tum Ho’ Humayun took home the Pakistan International Screen Awards ‘Best Actor Award’. The drama  became a cultural phenomenon across Pakistan and even resonated in India, where fans compared him to Shah Rukh Khan.

On March 23, 2021,Humayun was awarded the Pride of Performance by the Government of Pakistan during the Presidential investiture ceremony at Aiwan-e-Sadr, in recognition of his significant contributions to acting and the revival of the Pakistani film and television industry. Humayun has described this accolade as his “most special,” expressing deep gratitude for state recognition and pledging to continue working hard to make Pakistan proud.

In a historic moment for Pakistani entertainment, Humayun was cast as Dr. Hasnat Khan—the deeply private British-Pakistani heart surgeon romantically linked to Princess Diana—in Netflix’s royal juggernaut The Crown (Season 5). He was officially cast in January 2022, and his character debuted in episode 7, titled “No Woman’s Land”, continuing through the season’s finale This marked his formal entry into international stardom and further affirmed his cross-border appeal.

When asked what distinguishes him as an actor, Humayun has a simple riposte: “What sets me apart as an actor is my focus and mind-set. I believe an actor’s real-life attitude deeply influences their on-screen authenticity. Most of my roles have been positive and humble, so it’s important for me to reflect those qualities in real life—audiences can easily sense inauthenticity in an actor’s eyes. Some actors come across as arrogant off-screen, making it hard for viewers to believe their on-screen humility. You can’t fool a discerning audience.”

Humayun also adds that the input of the director counts. “Good direction also plays a huge role—having a director with a clear vision elevates any performance.” Among his favourite roles of all time, Humayun cites ‘Meray Paas Tum Ho‘ which he says stood out for its impact and complexity, followed by ‘Dil Lagi’. In his film roles, he found  ‘Punjab Nahi Jaungi’ with Mehwish Hayat both challenging and rewarding.

Humayun describes himself as a Method Actor and has admired and been inspired by Hollywood leading men including Al Pacino, Robert De Niro, Sean Penn, Tom Hanks and Bollywood superstar Amitabh Bachchan.

Humayun has said he wishes to work in Bollywood with some Indian actors.
“I would love to work with Kareena Kapoor Khan. She’s a strong actor.” He praises Aishwarya Rai for her beautiful eyes but jokes that Katrina Kaif might be out of his league. In August 2024 Humayun flexed his own star quality when he co-starred with Hadiqa Kiyani in a music video for her Sufi love song, ‘Baari Thaani’ directed by Abdullah Haris and produced by SufiScore which  showcased the organic and heartfelt chemistry between the two superstars  .

Humayun credits his success not to stardom but to discipline and reinvention.
“If I feel I’ve gained weight, I’ll lose it. If I feel my performance lacked depth, I’ll do better next time,” he says. Fitness is now a part of his routine, especially after a serious car accident in Bangkok in 2014, which required cosmetic treatment for facial scarring.

About his personal style Humayun is quite literally black and white.
“My personal style is guided by comfort. I feel most at ease and confident in a classic black shalwar kameez, a sharp black suit, or a relaxed black linen shirt with trousers. These are my go-to looks—simple, timeless, and what I feel I look best in.” To test his own sartorial prowess and to celebrate his long-standing friendship and creative partnership with Adnan Siddiqui—from ‘Mehendi’ to the hit drama ‘Meray Pas Tum Ho’, Humayun along with Adnan launched the luxury apparel brand, Cast and Crew, in collaboration with fashion retailer J.

Off-screen, Humayun describes himself as a humble, respectful, and caring person.

Despite his fame, Humayun is shy by nature, a trait he says he’s carried since childhood. He is also quietly philanthropic, contributing generously to various causes. Humayun feels that public figures have particular responsibilities. “One of the key responsibilities of being a public figure is to maintain a positive mind-set,” Humayun asserts

“I always try to stay positive, humble and respectful. It’s very important for anyone in the public eye to show respect at all times, and to carry themselves with humility and a positive outlook on life. For celebrities or actors especially, respect and humility are essential qualities.”

Humayun is extremely protective about his private life. He has been married to Samina Humayun Saeed since 1995—a respected producer in her own right – who he has acknowledged as helping to launch and sustain his career. In the early years, her discomfort with his roles—especially in ‘Inteha’—was no secret. Humayun says, “Initially, Samina did have a problem. She wanted me to leave this field of acting, and go back to the garment business.”

But love, respect and a blossoming career prevailed.

On January 31, 2022, Humayun tweeted: “Disappointed to find out that only 1 out of 4 female doctors practice after graduation in Pakistan because of family pressure. Thinking of a new project, maybe to highlight this issue. Let’s encourage women to pursue their dreams. #DoctorBahu.” He expressed concern over how many women who train as doctors never continue to practice—often stepping down after marriage due to cultural/family expectations. He proposed producing a project tentatively titled  ‘Doctor Bahu’ to spotlight this issue, the title suggesting  the central conflict: a woman juggling her medical profession with traditional expectations as a daughter-in-law (bahu).

And as always, Humayun is delivering. Produced by Six Sigma Plus, ‘Doctor Bahu’, starring Kubra Khan and Shuja Asad is set to air on ARY Digital likely in September–October 2025, The TV play  is written by Sanam Mehdi Zaryab and directed by Mehreen Jabbar and includes actors Adeel Hussain, Hajra Yamin, Mira Sethi, and Saba Hamid in the ensemble cast.

Humayun’s most recent TV drama serial ‘Mein Manto Nahin Hoon’  directed  by Nadeem Baig with a script written by Khalil‑ur‑Rehman Qamar is produced under the  aegis of the Six Sigma Plus banner and aired on ARY Digital. Says Humayun about his latest endeavour which also stars Asif Raza Mir, Usman Peerzada, Saima Noor, Azaan Sami Khan and Nameer Khan: “The interesting part about ‘Mein Manto Nahin Hoon’ was that it was my first time working with Sajal Aly and Sanam Saeed. Both are incredible actresses, and I genuinely enjoyed doing scenes with them. I have a particular liking for actors who are effortlessly natural in their delivery, and both Sajal and Sanam have that quality — they deliver their dialogues with ease and grace. About his other future plans, Humayun says he is looking forward to producing more entertaining movies.
“Jawani Phir Nahin Aani Part 3 is in the works. I’m going to produce one or two action movies as well.”

In a world of fleeting fame and algorithm-driven stories, Humayun Saeed remains a constant: romantic, relevant, and real. ‘Love Guru’ proves he’s not just a star—but a force, keeping Pakistani cinema bold, vibrant, and irresistibly watchable. He is not merely a name—he’s an institution. A storyteller. A trendsetter. A national treasure. And whether he’s romancing onscreen, producing award-winning content, or making history on an international stage, one thing’s certain: ‘The King of Pakistani Entertainment’ still rules.

The post HUMAYUN SAEED: THE REIGNING KING OF PAKISTANI ENTERTAINMENT appeared first on Glam Magazine.

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Khan Tumhara is shaping up to be one of the more anticipated upcoming releases. Directed by Ehteshamuddin and produced by Momina Duraid Productions and Behive Transmedia, in association with Bilal Ashraf and Ehteshamuddin, the film brings together a team known for thoughtful, narrative driven work. The screenplay is written by Mustafa Afridi, with Bilal Ashraf and Maya Ali in the lead roles.

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The teaser offers a controlled, confident introduction to the film’s world. It opens with sparse dialogue and a sequence of deliberate visual beats. One shot lingers on Ashraf in a moment of stillness before the tension shifts again. There is no shortage of impact either; the teaser shows flashes of explosive action that sit alongside the film’s quieter, character-led beats. The images move between tense close ups and stark landscapes. Together, they hint at a story shaped by both internal and external pressure. Each shot offers just enough of the film’s mood to guide the viewer without revealing narrative details or character arcs.

Speaking to Variety, director Ehteshamuddin described the film as an exploration of “what happens when love, loyalty and vengeance collide in a world that does not give its people easy choices”. The soundtrack brings together Urdu, Punjabi and Pashto tracks, reflecting the film’s regional breadth. The team says the film’s post production has been carried out to meet international standards.

The release is expected around Eid ul Adha 2026. For now, it is the clarity of the film’s vision, combined with the confidence of those shaping it, that positions Khan Tumhara as a release to track closely in the months ahead.

The post Khan Tumhara: What We Know About the Upcoming Epic Action Film appeared first on Glam Magazine.

In its latest episode, Jama Taqseem continued to explore the unspoken negotiations of family life, showing that impact does not always need volume. What began as good news, with Laila being shortlisted for a promising job, quickly became a reminder of how fragile peace can be when two households share more than just walls.

Her parents encouraged her to attend the interview, proud to see her move forward. Her in-laws, still uneasy after the couple’s decision to live separately, were less supportive. Their recent stay, prompted by her father-in-law’s illness, has only added to the quiet strain in the household.

The Confrontation That Changed the Tone

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The episode’s turning point came when both families finally faced each other. What started as a polite exchange soon turned into a confrontation charged with pride, fear and the discomfort of change.

And then there was Qais, gone before any of it unfolded. He left early for an important meeting, missing the confrontation entirely. His absence was not neglect, but a kind of privilege that allows men to step away from domestic conflict under the banner of responsibility. He gets to prioritise work without question, a freedom his wife is not afforded. When Laila tried to reschedule her interview to keep the peace, it was not weakness but weary diplomacy.

That contrast between choice and expectation anchored the episode. Why does a son earn praise for commitment to work while a daughter-in-law must first seek permission? And why must harmony always depend on her restraint?

Viewers online were quick to note the irony: both sides believe they are right, yet Laila is the only one left absorbing the fallout. She is not defiant; she is simply caught in the crossfire of other people’s pride.

Episode 17 does not assign heroes or villains. It captures the kind of tension that feels familiar to many households, where love, duty and ego quietly collide beneath the surface.

Tune in tonight at 8 p.m. on HUM TV to see how it unfolds.

The post Jama Taqseem Episode 17 Exposes Who’s Really Missing appeared first on Glam Magazine.

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After two decades of serenading fans through chart-topping singles, original soundtracks and television hits, Farhan Saeed is finally dropping something long-awaited, his debut solo album, Khat.

Set to release on 14 November, Khat isn’t just an album; it’s a sentiment. In Farhan’s words, it’s “a letter from my heart to theirs,” a message to the fans who’ve grown up with his voice, from his breakout years with Jal to Suno Chanda’s rom-com charm.

The album, being released under Warner Music South Asia in partnership with Silent Roar Productions, will feature 10 Urdu and Punjabi tracks, each blending Saeed’s emotional storytelling with a modern, globally polished sound. The rollout will be gradual, starting with the title track Khat and followed by monthly releases.

Four of the songs will also be accompanied by music videos, each directed by a different filmmaker to give the visuals their own creative identity. The approach reflects Farhan’s instinct for storytelling through both sound and screen.

And if the internet is any indication, fans are beyond excited. Social media has already lit up with nostalgia and anticipation, with longtime listeners calling it “the comeback they’ve been waiting for” and newer fans praising how Farhan continues to evolve without losing his signature charm.

With Khat, Farhan Saeed steps back into the soundscape he helped shape, this time on his own terms, with stories that feel deeply personal yet universally familiar.

The post Farhan Saeed Announces His First Solo Album ‘Khat’ After Two Decades in Music appeared first on Glam Magazine.

Qamar said that no one has the right to fabricate stories for views or attention, calling the remarks deeply damaging to her reputation. Her response has sparked widespread discussion on media ethics, privacy, and respect for women in Pakistan’s entertainment industry.

Supporters online have praised her for taking a stand against sensationalism, calling her move a bold reminder of accountability in digital journalism.

The post Saba Qamar Threatens Rs 100 Million Defamation Lawsuit Against Journalist Naeem Hanif appeared first on Glam Magazine.