The article discusses the Pakistani television series 'Churails,' which has gained popularity not only in Pakistan but also in South Asia and the Middle East. The series, which is Pakistan's first original web series for an international streaming service, is praised for its groundbreaking content that covers issues such as misogyny, domestic abuse, class divides, transphobia, and more within Pakistani society. 'Churails' revolves around four women who form a detective agency to expose cheating husbands, challenging the conservative norms of Pakistani society. The writer, Turyal Azam Khan, commends the series for its storytelling, character development, cinematography, and music, calling it a masterpiece that showcases Pakistan's potential to create content for a global audience. The success of 'Churails' on the Indian streaming service Zee 5 is seen as a promising sign for future Pakistani web series.

Pakistan's digital sector is being hindered by the government's actions, such as the Pakistan Telecommunication Authority's request for VPN registration and the ban on the popular game PUBG. These measures are seen as counterproductive, especially when digital literacy and a healthy digital atmosphere are crucial for the country's progress. The potential of e-sports in Pakistan, exemplified by player Arsalan Ash, and the negative impact of previous bans, such as on YouTube, are highlighted. The article calls for a focus on digital literacy and knowledgeable regulatory bodies to foster a beneficial digital environment.

Radio broadcasting in Pakistan has evolved significantly since the country's independence in 1947. Radio Pakistan, the first station, played a crucial role in nation-building and cultural development. Despite competition from international broadcasters and the rise of television, Radio Pakistan maintained high standards and popularity. The 1990s saw the introduction of private FM stations like FM 100, which brought a more informal and music-focused approach. The liberalization of media by President Musharraf in 2002 led to a surge in radio stations. Today, radio remains an effective medium, especially in rural areas, and has embraced digital technology to reach global audiences.

Nescafé Basement, a popular Pakistani music show, concluded its fifth season to positive reception. The show, created by musician Zulfiqar Jabbar Khan, featured a musically diverse lineup, including young talents like eight-year-old Hadiya Hashmi and the All Kids Band. The season showcased a variety of genres and instruments, with notable performances including Bol Hu by Soch, Mehbooba by Haroon Rashid, and original works by new artists Zain and Zohaib, Shahzad-E-Ali, and Abdullah Siddiqui. The season's success is seen as a promising sign for the future of Pakistan's music industry.

The article discusses the Christchurch mosque shootings in New Zealand, highlighting the issue of right-wing white terrorism and Islamophobia in Western media. It challenges the narrative that associates terrorism solely with Muslims, citing statistics and examples of white male perpetrators of mass shootings. The piece criticizes the media, particularly Rupert Murdoch's news outlets and Fox News, for biased reporting that fuels anti-Muslim sentiment. It calls for a more responsible media approach and warns of darker days ahead with leaders like Donald Trump, who openly expresses disdain for Islam and Muslims.

The article discusses the rise of streaming platforms in Pakistan and their impact on traditional media such as television and music CDs. Netflix, which launched in Pakistan in 2016, is credited with starting the streaming culture in the country and is known for its original content and binge-watching trend. Other platforms available in Pakistan include the Malaysian Iflix, which offers both free and VIP content including Pakistani originals, Amazon Prime Video, which provides a range of US and Indian shows and movies, Starz Play, which features original content from the Starz library, and Facebook Watch, a free service integrated into Facebook. The article suggests that Pakistani television giants may need to launch their own streaming services to compete with these international platforms.

The article narrates a personal story of Ahmer, who confides in the author about his desire to marry for love, which is against the wishes of his parents who favor an arranged marriage. The author discusses the cultural backdrop of Pakistan, where love marriages are frowned upon and arranged marriages are the norm, often for maintaining family honor or property within the family. The article touches upon the gender disparity, societal pressures, and the concept of honor killings, referencing the documentary 'A Girl in the River: The Price of Forgiveness'. It highlights the challenges faced by individuals like Ahmer who go against societal norms, and the uncertain future of love marriages in Pakistan's conservative society.

Strings, the renowned Pakistani pop rock band, has released 'Mil Gaya', the fourth track from their upcoming album '30', marking their 30th anniversary. The song, which is part of an eight-song album, is a narrative about pursuing dreams and overcoming challenges. Bilal Maqsood, who wrote and sang the track, has crafted a story arc within the lyrics, supported by the band's signature instrumental ensemble. The music video, directed by Kamal Khan and shot in Lyari, complements the song's storytelling by depicting a teenager's journey to finding peace and purpose through boxing. Strings, consisting of Faisal Kapadia and Bilal Maqsood, are also judges on the third season of Pepsi Battle of the Bands, where they performed a medley of their hits. The article highlights Strings' influence on the national music scene and their role as mentors in the creative industry.

The article discusses the changing landscape of the Pakistani film industry, highlighting the success of the film 'Cake' which diverges from traditional Pakistani cinema themes. The film's acclaim, including international attention from The Guardian, signals a shift in the local industry, encouraging experimentation and breaking of conventional barriers. The article also mentions the impact of Bollywood on Pakistani cinemas and the recent trend of local films gaining popularity, starting with 'Waar' in 2013. Another film, 'Motorcycle Girl', also received critical acclaim, further indicating a positive trend for Pakistani cinema. The author, Turyal Azam Khan, suggests that continued success of such films could put Pakistan's film industry on the right track.

The article discusses the trend of reviving popular television shows and the challenges associated with it, using the example of the children's franchise 'Rugrats', which is being revived with a new series and a live-action/CGI hybrid film. The author expresses nostalgia but also concern, questioning whether the revival will succeed or fail like many others. The article cites 'Samurai Jack' as a successful revival due to its original team and matured content, while the 'PowerPuff Girls' revival is criticized for lacking original voices and creators. The author notes that long-running shows often decline in quality, mentioning 'SpongeBob Square Pants', 'The Fairly Odd Parents', and 'The Simpsons'. The success of spin-offs like 'Boston Legal' and 'Young Sheldon' is contrasted with less successful ones like 'The Cleveland Show' and 'Ravenswood'. The article concludes that the involvement of the original creators and voice actors in the 'Rugrats' revival may bode well, but the challenge lies in appealing to both new viewers and fans of the original series.

Asad Ahmed has released a new music video for the song 'Will You' from his debut solo album 'Rebirth', under the record label EMI Pakistan. The video, directed by Amaan Ahmed, showcases an energetic performance by Asad Ahmed and his band. The track is described as flawless and is recommended for adding to playlists, with a cautionary note about its potential to encourage faster driving. The article also delves into the possible meanings behind the song, suggesting it's about resilience and overcoming tough times. The music video features a team of professionals including Qaiser Zain Ul Abideen, Anas Alam Khan, Saad Hayat, and is produced by EMI Pakistan and Uncut Studios.

Umair Jaswal has released 'Na Rahoon,' the first song from his upcoming solo album. Known for his work with the band Qayaas and performances on Coke Studio, Jaswal's solo venture showcases his powerful vocals. The music video, directed by Yasir Jaswal, presents a sad love song with open-ended visuals for interpretation. The song features Faraz Anwar on guitar, blending his style with the song's feel. The production team, including Ehtesham Ansari, Sajid Mehmood, and companies like Toni and Guy for makeup, and Sarmad Ghafoor for mixing, mastering, and songwriting, have contributed to the song's success. The article suggests that 'Na Rahoon' is a promising start to Jaswal's solo album and appeals to a broad audience, potentially converting new listeners into fans.

The article discusses the release of the song 'Piya Re' by the Pakistani band Strings, which is part of their upcoming album '30' commemorating their 30-year anniversary. 'Piya Re' is the third song of the album, following 'Sajni' and 'Urr Jaoon'. The author critiques the song as not being the band's best work but acknowledges that it will appeal to their fan base and those who enjoy pop rock. The collaboration with Cornetto Pop Rock Season 3 is mentioned, and the song's upbeat lyrics and the vocal harmony between Faisal Kapadia and Bilal Maqsood are praised. The music video is criticized for its lack of originality in the portrayal of young love, a theme the author feels is overused. The article concludes by expressing anticipation for the remaining songs of the album and high expectations from the band.

The article challenges the conventional belief that formal education is the sole path to success, arguing that it is often confused with the acquisition of knowledge. The author criticizes educational institutions and societal norms for pressuring individuals to prioritize education over other aspects of life, such as sports or arts, and for not teaching practical life skills. The piece also touches on the stigma associated with non-traditional fields of study, such as those outside of medicine and engineering. The author advocates for a more balanced and liberal approach to education that includes breaks and a focus on a variety of important life skills, rather than a relentless emphasis on academic study.

The article is a review of the Marvel television show 'Cloak and Dagger'. It emphasizes the unique aspects of the show, particularly its focus on character development and the slow progression of the storyline, which allows for a deeper understanding of the characters and their circumstances. The show is based on the Marvel comic book superhero duo and follows two teenagers, Tyrone Johnson and Tandy Bowen, played by Aubrey Joseph and Olivia Holt respectively, who are connected by their superpowers following a tragic incident. The author admits to initially watching the show due to the Marvel brand but suggests that the show's distinctiveness lies in its lesser-known protagonists. The author encourages readers to watch 'Cloak and Dagger', promising that it is unlike anything Marvel has offered before and that viewers are likely to become engrossed in it.

The article discusses the anticipation for the third season of Pepsi Battle of the Bands and highlights the success of the album launch event for the winners and runners-up of the second season, Kashmir and Badnaam, held at Avari Towers in Karachi. It reviews new tracks from both bands' upcoming debut albums, noting the unique sound and emotional depth of Kashmir's 'Pareshaniyan' and 'Khawab', and the Sufi head banging identity of Badnaam's 'Aik Noktay' and 'Zindagi'. The article suggests that both bands have significantly evolved since their appearances on Pepsi Battle of the Bands, and their new music is eagerly awaited. The songs are available on Sound Cloud, YouTube, and the official Pepsi Battle of the Bands website.

The article discusses the state of the Pakistani music industry, highlighting the challenges it faces such as corruption and piracy. Despite these issues, the industry has seen some progress through popular platforms and corporate-sponsored shows. The focus then shifts to Talha Nadeem, a business student from Iqra University Karachi, who has become an inspiration to aspiring musicians. His latest song 'Kabhi' is praised for its creativity and the music video directed by Aqeel Ahmed is noted for its simplicity. The article mentions Talha's previous singles and expresses anticipation for his future works, hinting at the possibility of a new song or album.

The article discusses the retro version of the song 'Yes Love' by Dr Aur Billa, a comedic musical act originally put together by Jawad Bashir, a well-known Pakistani comedian. The author expresses disappointment with the retro version, feeling it betrays the original's legacy. The new version features an electronic rhythm, a rapper, and a female vocalist, which the author believes do not fit the song. The music video is criticized for being too mainstream and lacking the originality that made the original song popular. The author argues that the music industry should focus on originality rather than covers or remixes, and if remixes are made, they should be done with care. The retro version is described as forgettable and a waste of time.

Pakistani band Strings has released a new song titled 'Urr Jaaon' with an accompanying music video, directed by Jami, from their upcoming album '30'. The video, released on April 6, 2018, depicts a narrative that challenges social norms around child labor and class differences, promoting empathy and equality. It shows well-dressed adults at a dinner party being served by child servants, leading to a moment of reflection and a symbolic gesture where the children are invited to sit at the dinner table. The song, with lyrics by Bilal Maqsood and a theme of hope and perseverance, complements the video's message. The release has increased anticipation for the remaining songs on the album.

The Pakistani rock band Call celebrated Pakistan Day with the release of their song 'Zindabad,' which is expected to become a timeless classic. They had previously announced a competition on Facebook to select fifty winners to perform the song. The music video, directed by Murtaza Niaz, captures the energy of the occasion and features a large number of drummers and musicians from across Pakistan. The article also mentions Call's recent activities, including their performance in Norway, their participation in Pepsi Battle of the Bands, and the release of the anthem for the cricket team Peshawar Zalmi. The band promises more music in the future, setting high expectations with 'Zindabad.'

The article discusses the Pakistani band Strings, which has been a significant part of the music industry for 30 years. It highlights their hits, international presence, and contributions to Bollywood and Coke Studio. The band, formed in 1988, gained fame with their music video 'Sar Kiye Pahar' on MTV Asia. After a hiatus, they returned in 1999 with the album 'Duur', gaining popularity in India. They've won numerous awards and used their platform to address social issues in Pakistan. Recently, they left Coke Studio to focus on their music and teased their upcoming song 'Sajni' from their new album '30', celebrating their 30-year legacy. The article also touches on their social media promotion and the nostalgic elements in their music video directed by Yasir Jaswal.

The article discusses the evolution of Coke Studio Pakistan and the Pakistani music industry. It highlights the departure of the pop rock band Strings as producers of Coke Studio after Season 10 and the speculation surrounding their replacement. The article confirms that Ali Hamza of Noori and musician Zohaib Kazi will produce Season 11. It reflects on the challenges faced by the Pakistani music industry, such as terrorism and piracy, and the emergence of rival music shows like Ufone Uth Records and Nescafe Basement. The article also touches upon the introduction of international artists in Coke Studio Season 6 and the mixed reactions it received. It mentions the competition from Pepsi's music show and the criticism of Coke Studio for monotony. The article concludes with expectations from the new producers, who are known for their creativity and focus on discovering new talent, while maintaining the commercial aspect of the show.

The article discusses the perilous journey of migrants who, inspired by the fictional narrative of Mohsin Hamid's novel 'Exit West', seek a better life abroad but face harsh realities. It highlights the tragic incident of a boat sinking off the Libyan coast on February 2, 2018, which resulted in the death of at least 90 migrants, including 16 Pakistanis. The article criticizes the ineffective measures taken by the Pakistani government and the European Union's controversial agreements with Libya and Turkey to curb migration. It emphasizes the need for stricter laws against human trafficking in Pakistan, better protection for victims, and improved local opportunities to prevent illegal immigration. The role of organizations like the UN and IOM in addressing the crisis is also mentioned, along with the low conviction rates for human traffickers in districts like Gujranwala.

The article discusses the successful solo career of Farhan Saeed, a former lead vocalist of the Asian pop rock group Jal. It highlights his numerous hits and contributions to television and film, including the song 'Rab Rakha' for the Pakistani film 'Punjab Nahi Jaungi' and tracks for Bollywood films. The latest release, 'Dil Hua Panchi', is praised for its simplicity in both audio and video, which were shot in New York City and feature Farhan Saeed and Sana Serai. The song, produced and composed by Adrian David Emmaneul, is described as a signature Farhan Saeed track that emphasizes the simplicity of love. The article also mentions Farhan Saeed's upcoming directorial debut for musician Hamza Malik's new song 'O Jana'.

The article discusses the evolution of children's television programming in Pakistan, from the limited options in the 1980s and 1990s with shows like 'Ainak Wala Jinn' and 'Alif Laila', to the liberalisation of TV channels in the early 2000s. Despite the influx of channels, Pakistani children's programming was scarce, leading to reliance on global channels like Cartoon Network, Nickelodeon, and Disney Channel. The article mentions the short-lived WikKid Plus by Media Times and the success of shows like 'Burka Avenger' and films like '3 Bahadur'. It also covers recent developments such as the animated film 'Allahyar and the Legend of Markhor' and PTV's decision to convert a channel for kids. The article questions whether PTV's new initiative will succeed and if private companies will follow suit in creating content that appeals to children.

Pakistani guitarist Asad Ahmed has released a new music video titled 'Rebirth' from his debut solo album of the same name. The video, directed by Amaan Ahmed of Uncut Studios, showcases the scenic beauty of Pakistan and conveys a theme of self-discovery. Asad Ahmed, known for his work with Pakistan's first rock band The Barbarians, pop rock trio Awaz, and rock band Karavan, has been a prominent figure in the Pakistani music scene, contributing to Coke Studio and collaborating with various artists. The album 'Rebirth' was released by EMI Pakistan and has been well-received both locally and internationally. The music video for 'Rebirth' is praised for its execution and the synergy between the visuals and the instrumental track.

The article discusses the state of the Pakistani music industry in 2017, highlighting various developments such as band reunions, album launches, and the discovery of new talent. It mentions the release of music videos and albums by popular and independent artists, initiatives by digital music platforms like Patari Tabeer and PatariFanoos, and the role of music in Pakistani films. The article also covers the participation of musicians in events like the Lux Style Awards and the Pepsi Battle of the Bands. It acknowledges the challenges of piracy and the losses of notable figures in the industry, while also noting the mixed reactions to Coke Studio's tenth season. The article concludes by expressing optimism for the future of Pakistani music, citing the year's activities as positive signs.

The article discusses the ongoing issue of honour killings in Pakistan, despite the government's efforts to combat the problem by passing stricter laws. It references the impact of the documentary 'A Girl in the River: The Price of Forgiveness' and the subsequent legislative changes proposed by PPP senator Farhatullah Babar. However, recent cases in Multan, Dera Ismail Khan, and the murder of a newlywed couple, Abdul Hadi and Hasina Bibi, by a Jirga, highlight the persistence of such crimes. The article calls for a change in mindset towards women, education about the illegality of Jirgas, and action from the government and police to address these unlawful and outdated practices.

The article discusses the Pakistani band Aaroh's return to the music scene with their new music video for the single 'Main Nahi Manta (Dastoor)', a rendition of Habib Jalib’s poem 'Dastoor'. The band, which gained fame by winning the first Pepsi Battle of The Bands in 2002, had split in 2009 but made a comeback with performances in the revived Pepsi Battle of The Bands in 2017. The music video addresses social issues like corruption and terrorism in Pakistan. The release has been well-received on social media, and fans are hopeful for more music from Aaroh. The article also touches on the band's history, including their albums, past hits like 'Na Kaho', and the death of lead guitarist Haider Hashmi in 2014.

The article discusses the aftermath of the 2014 Peshawar school attack in Pakistan, focusing on the country's reinstatement of the death penalty. It criticizes the effectiveness of the death penalty in deterring terrorism, highlighting that the measure has led to the execution of mentally challenged individuals and juveniles, and that many on death row may be innocent. The article references a report by Justice Project Pakistan which points out flaws in Pakistan's Anti-Terrorism Act and justice system, including forced confessions and police misconduct. It also compares crime rates in countries with and without the death penalty, using data from Harm Reduction International to argue that the death penalty does not correlate with lower crime rates. The author advocates for the abolition of the death penalty, suggesting life imprisonment as a more humane and effective punishment, and calls for reforms in the Pakistani justice system.

Coke Studio Pakistan faces an uncertain future after receiving mixed reactions to its tenth season and the departure of Strings as music producers. The show, which began in 2008 to revitalize the Pakistani music industry, has been criticized for being monotonous and engaging in nepotism. Competition from Pepsi Battle of the Bands and the pressure of being in its tenth season have also affected the show. Critics suggest that Coke Studio should focus on original music rather than covers to showcase creativity and provide a platform for new and independent artists based on merit. Strings, having not released an album since 2008, are advised to return to producing music for their fans. The direction Coke Studio takes will depend on the decisions of future music producers and those involved with the show.

Coke Studio Pakistan faces an uncertain future after receiving mixed reactions to its tenth season and the departure of Strings as music producers. The show, which began in 2008 to revitalize the Pakistani music industry, has been criticized for being monotonous and engaging in nepotism. Competition from Pepsi Battle of the Bands and the pressure of being in its tenth season have also affected the show. Critics suggest that Coke Studio should focus on original music rather than covers to showcase creativity and provide a platform for new and independent artists based on merit. Strings, having not released an album since 2008, are advised to return to producing music for their fans. The direction Coke Studio takes will depend on the decisions of future music producers and those involved with the show.

The article discusses the issue of violence perpetrated by the educated elite in Pakistan, highlighting several incidents where individuals with access to good education engaged in physical assaults against security personnel. The most recent event took place at Lahore Grammar School, where a security guard was beaten by young men denied entry to a Model United Nations event and a concert by Rahat Fateh Ali Khan. Similar past incidents at Quaid-E-Azam University and Garisson Golf and Country Club are also mentioned. The article criticizes the behavior of the assailants, emphasizing that education should impart not just academic knowledge but also manners and ethics. It also references a UNESCO report to point out Pakistan's low literacy rates and the large number of children out of school, suggesting that those with educational privileges are not utilizing them responsibly. The author calls for accountability and justice for the victims of such violence.

The article discusses a recent incident in a village near Dera Ismail Khan, Pakistan, where a girl named Sharifa Bibi was paraded naked as revenge for her brother's past crime. The author highlights the role of the local village council, or jirga, in administering such punishments, which are illegal yet still prevalent in rural areas. The article points out the failure of the justice system to prevent these incidents and the stigma faced by the victims. It also references Pakistan's low ranking on the Gender Gap Index 2016 and calls for improvements in the education system, legal reforms, and strengthening of the police force to gain local trust and eliminate the reliance on jirgas for justice.

The article discusses the issue of educational institutions in Pakistan punishing students for expressing their opinions on social media. It highlights two incidents: one at PAF-Kiet North Nazimabad Campus where a student was placed on final warning and assigned to work with the admission department for criticizing the university on Facebook, and another at IM-Sciences Peshawar where a student was punished for exposing unhygienic conditions at the university café. The author criticizes these actions, arguing that educational institutions should be open environments that encourage free expression, rather than acting like businesses solely concerned with their reputation.