Maheen Sabeeh

We see countless documentaries about legendary artists that try to explain true greatness. Yet, very few actually succeed, mostly because greatness isn’t something you can easily dissect. It is something you feel rather than define. Eternal...

Blending the soul of qawwali with a distinctly contemporary sound, ‘Lost in Love’ is both ambitious and deeply affecting.

K Karachi witnessed a night of glamour, excitement and zombie-inspired fun as Zombeid, Pakistan’s first zombie horror-comedy, premiered at Nueplex Cinemas last month on May 26. Starring...

“My DNA not for imitation Your DNA an abomination” – ‘DNA' by Kendrick Lamar Every generation finds its own soundtrack.

With Confessions II – The Film, the Queen of Pop makes the kind of comeback befitting her legacy, blending nostalgia, a host of celebrity cameos and new music into a deeply personal visual statement.

Between A Good Girl’s Guide to Murder and The Other Bennet Sister, director Asim Abbasi is having an international moment, with both series getting excellent reviews. In this interview, he talks about directing two dramatically different projects, why Barzakh was pulled from YouTube and what it means to work with adapted material rather than writing his own stories.

The triumph of Asim Abbasi's British shows cannot be overstated. As this story is being written, the BBC and BritBox have confirmed that a three-episode Christmas special of The Other Bennet Sister is in the pipeline. Sarah Quintrell is returning as the writer for all three parts with storylines by author Janice Hadlow. More to the point, series director Asim Abbasi is also returning to direct the three-part special. In this concluding part of the interview, Asim Abbasi talks about what it has been like to shoot a period piece like The Other Bennet Sister and a lot more…

As co-curator of Humnava, singer-songwriter, guitar wizard and producer Sherry Khattak is championing a different way of making music, one rooted in collaboration, live performance and cultural exchange.

When Pakistan's Got Talent finally hit our screens, the hype was always going to be massive. This isn't just another typical singing show or standard reality TV setup. There isn't a genre of entertainment attached to it. You can do pretty much anything.

When Rap Icon premiered, its biggest challenge wasn't finding talented rappers. Pakistan's underground hip-hop scene has long been home to gifted lyricists, battle rappers and independent artists waiting for a platform that could bring them to a wider audience, from cypher videos shot in bedrooms to festival slots that rarely translated into mainstream visibility. The real test was whether a television competition could stay true to the culture without devolving into melodrama and manufactured conflict. Eight episodes in, it has largely succeeded.