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Mikaal Zulfiqar Opens Up About Love Life and Rejection

Mikaal Zulfiqar is one of the biggest stars in Pakistan. He started his career as a model and then moved into acting, where he has had many successful roles. Known for his good looks, he often appears on lists of the most handsome men in the country.

Recently, Mikaal appeared on a talk show called Gup Shab, where he shared an unexpected story about his love life. He revealed that he recently asked a woman out, but she rejected him. Mikaal explained that he thinks his fame might intimidate some women. He believes that people often feel nervous around him because he is a well-known celebrity, even though he is actually very easygoing in real life.

Mikaal has been open about his personal life with his fans. He was previously married to Sara Bhatti, and they have two daughters together. Since their divorce, he has been single, and many of his fans are curious about his romantic life.

During the show, Mikaal’s candidness surprised many viewers. He expressed that despite his fame, he is just a regular person looking for connection. His honesty about facing rejection offers a relatable insight into the life of a star. Mikaal’s experience shows that even famous individuals encounter challenges in their personal lives, just like everyone else. His story reminds us that behind the glamour of celebrity status, there are real feelings and experiences.
Also read:Mikaal Zulfiqar: Happy with Kids, No Plans for Next Marriage

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Sania Saeed credits Samina Ahmad for shaping her early acting career

Senior Pakistani actress Sania Saeed has said veteran actress Samina Ahmad was not only her mentor but also provided her with immense love, encouragement and support during the early years of her acting career.

Speaking on a private television programme, Sania Saeed reflected on her long-standing relationship with Samina Ahmad and shared her experience of working with her in the drama serial Aahat.

She said that while travelling to Lahore by train to participate in theatre festivals, she often had no accommodation or sufficient financial resources. During those days, her father would reassure her by saying there was nothing to worry about because Samina Ahmad would be there.

Sania Saeed recalled that she was initially surprised her father had assumed she could stay at Samina Ahmad’s home without asking her first. However, he assured her that he would speak to the veteran actress himself. She later stayed at Samina Ahmad’s residence throughout the theatre festival and was able to take part in all the activities.

The actress said she received immense affection, kindness and protection from her senior colleagues, adding that she hoped to pass on the same tradition of support to the younger generation, as her seniors were not only mentors but institutions in themselves.

Speaking about Samina Ahmad’s personality, Sania Saeed described her as a courageous and resilient woman who raised her children on her own, helped them become independent and later chose to begin a new chapter in her life, reflecting her strength and self-confidence.

Sania Saeed further said that although her television career began with Aahat alongside Samina Ahmad, she had known the veteran actress long before that through Rafi Peer, where Samina Ahmad worked as an art director and from whom she learned a great deal about art and theatre.

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Eid 2026 Fashion Was Powerfully Individual – Here Are the Looks That Defined It

This Eid, fashion feel like a runway dictated by trends – a quiet, confident understanding of style took center stage, where nostalgia met modern flair, and individuality spoke louder than any passing fad. From fluid florals to monochromes, this year’s festive wardrobes reflected personality over prescription and if there was one thing everyone agreed on, it was there’s no single way to dress for Eid anymore.

Leading the style narrative was Hania Aamir, who made a compelling case for saris on Eid. Her maroon blouse paired with a cream-and-gold lawn sari struck a delicate balance between festive and effortless. But it was the understated details that elevated the look – a soft, barely-there makeup finish, a simple braid, and thoughtfully chosen bangles in maroon, gold, and white that steered clear of predictable trends. Her mehendi, adorned with tiny stud-like accents, added a subtle nod to what’s quietly trending online, making the entire look feel current yet unforced.

Meanwhile, Saboor Aly brought back the frock-style kameez with a refreshing twist. Her black-and-white ensemble blended structure with playfulness, anchored by a rust gota-embroidered neckline that drew the eye without overwhelming the outfit. Paired with a loose black shalwar featuring a bold border, the look felt cohesive yet relaxed. Finished with braided hair, statement jhumkas, and minimal makeup, it was festive fashion with comfort in mind—perfect for a day that moves between celebration and quiet family moments.

Softness took a more expressive turn with Yumna Zaidi, whose pale yellow floral kameez captured the essence of spring. A sheer net dupatta with delicate sequins added lightness, while deep green khussas grounded the outfit. Her accessories told a layered story – Kashmiri churis paired with colorful glass bangles created visual interest, but it was her mehendi, carrying a message of “Free Palestine, No To War,” that gave the look emotional weight. Subtle in palette, bold in meaning—it lingered long after first glance.

Breaking away from the expected festive palette, Sadaf Kanwal embraced an all-black ensemble that felt both dramatic and refined. Her silk frock-style kameez, complete with flowing sleeves and understated embellishments, caught the light just enough. The standout detail, however, was the silhouette—a hybrid shalwar-trouser that played with volume and structure, offering a modern take on traditional form. It was a reminder that Eid dressing doesn’t always have to follow the rules to feel right.

Elegance, in its purest form, came courtesy of Saba Qamar. Her pastel green peshwas-style kameez was a lesson in restraint—white accents and emerald detailing added richness without excess. Paired with classic jhumkas and a delicate nath, the look existed in that perfect space between bridal and minimal. It didn’t demand attention, but it certainly held it.

Then there was Zara Noor Abbas, who infused playfulness into her cream ensemble, what could have been a standard neutral outfit turned whimsical with bold pink embroidered hearts—one at the hem, another at the neckline. Rust-gold detailing added warmth, while kundan pearl jewellery, including a teeka and stacked bangles, brought polish to the look. It was equal parts charming and composed.

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Atiqa Odho on Talha Anjum’s flag row: Art has no borders, but self-respect matters

Atiqa Odho thinks art shouldn’t be limited by borders, but self-respect matters too — and she’s sharing her thoughts on the controversy where rapper Talha Anjum draped an Indian flag over his shoulders at a Kathmandu concert last November.

Odho was a guest on The Current Podcast when host Ismaeel Qasim asked about the incident. She said she’s “really torn” because it involves two things she believes in: agreeing with Anjum’s view that “art has no borders,” but also thinking “you have to treat others how they treat you.”

She complained that politics gets in the way of art. She said Indian celebrities who visit Pakistan are “treated like royalty” and get lots of love and respect, but “they won’t let our films play in their cinemas.”

“It has to be a two-way relationship,” she stressed several times during the interview.

As a former head of Pakistan’s United Producers Association (UPA), Odho said the group banned Indian films in Pakistan as a tit-for-tat move — because “cultural exchange can’t be one-sided.” She regretted that a great film like Maula Jatt didn’t get shown in India due to politics.

She recalled a time when she was UPA chair: India’s film association said they’d fine any producer 5 million INR (to go to the Indian Army’s welfare fund) for hiring Pakistanis. Back then, Pakistani actors like Fawad Khan and Mahira Khan were working in Bollywood. Odho said this move sent a terrible message — that Pakistani artists are like terrorists, and they have to “pay for the right” to work there.

She explained why India does this: Pakistani content on Indian screens “breaks their story that Pakistan only makes suicide bombers” — because it shows people there that Pakistan has art and culture too.

Odho said both countries have so much talent. “If our musicians, actors, and filmmakers work together, we could take the world by storm,” she said. She hopes things open up again someday, but “it has to be a two-way street.”

When the host noted that Indian fans love Pakistani artists (even if the Indian government doesn’t), Odho agreed: “We have lots of fans in India, and we want to make them happy. But people here reacting the way they are — it’s understandable given the current situation.” She added that Anjum made a choice and “will have to face the consequences.”

Earlier in the show, the host asked about a TV segment where host Rehan Tariq shamed TikTok creator Warda Malik for her content. Odho said everyone has the right to post what they want (as long as it’s legal) — “none of us are morality police.”

“If you find something really offensive, there are proper ways to handle it,” she said. “Government agencies and social media platforms have rules to take down or ban things.” She added that no one is perfect, and people have different ideas of what’s moral. She pointed to a recent case where a woman posted videos of animal abuse — and authorities stepped in, as they should. “These news anchors who humiliate people to act like morality police? They’re just trying to get more views,” she said.