Democracy at crossroads:From people’s power to monopoly’s plaything

Has democracy exhausted its potential? That uncomfortable question haunts political thinkers across the world today. What was once celebrated as the triumph of people’s power now appears to be little more than a cover for the consolidation of monopoly capitalism.

The result is stark: resources and power are being hoarded by a few, while the vast majority is left with little more than an illusion of choice. Lenin’s century-old warning that democracy under capitalism would serve as a mask for the interests of the powerful has never felt more prescient.

On paper, democracy still thrives. One can see citizens vote, parties campaign, and parliaments debate. Yet beneath these rituals, democracy has been hollowed out. As political theorist Sheldon Wolin observed, we are drifting toward inverted totalitarianism, where corporations and governments merge into a seamless machine that neutralizes dissent while pretending to uphold democratic ideals. The façade remains; the substance has vanished. It is merely an instrument to legitimize the capitalist greed of very few avaricious souls.

Take the United States, where the presidential campaigns of Bernie Sanders—arguably the only mainstream candidate in decades who openly challenged corporate power—were effectively neutralized by his own party establishment. The message was clear: challenges to entrenched wealth and monopoly are not permissible within the bounds of acceptable democracy.

Or look to India, where the rise of corporate titans like Mukesh Ambani and Gautam Adani has been accompanied by political consolidation. The lines between business and governance blur to the point where policies are tailored not for citizens but for conglomerates. The largest democracy and the oldest democracy stand as case studies in how wealth increasingly dictates political destiny.

It is telling that names like Elon Musk or Ambani are spoken of with the kind of reverence once reserved for heads of state. They command not only industries but also governments, with their decisions rippling across borders.

Economist Thomas Piketty has shown that wealth concentration today rivals that of the 19th-century Gilded Age. Yet the power of today’s billionaires is far more entrenched. Unlike the tycoons of a century ago, today’s moguls do not merely purchase influence; they write the rules, set global norms, and, in some cases, substitute themselves for public institutions.

When governments race to accommodate the interests of billionaires in fields like space exploration, artificial intelligence, and digital communications, it is hard to argue that sovereignty resides with the people. The accumulation of wealth and power in fewer and fewer hands is no longer an exception—it is the defining political reality of our time.

The contradictions of democracy are even sharper when viewed internationally. Prominent democracies—especially the US—have often been quick to side with dictatorships in the developing world whenever it suited their strategic or economic interests. This double standard exposes democracy as more of a geopolitical tool than a universal value.

Pakistan is perhaps the clearest example. Military rulers—from Ayub Khan to Pervez Musharraf—found their regimes legitimized and supported not by the will of the people but by Western powers that claimed to champion democracy.

The Cold War, the War on Terror, and regional rivalries all provided convenient justifications for democratic states to back authoritarian regimes abroad. Thus, people’s will and its expression through democratic systems is a farce.

Nor do the double standards stop there. Israel’s Prime Minister Benjamin Netanyahu, widely seen as one of the most ruthless leaders in modern politics, is, so to say, democratically elected. He continues to enjoy the overt backing of major democracies despite presiding over catastrophic assaults on Gaza and the daily suffering of Palestinians.

Israeli forces strike where they choose, jeopardizing international peace, while much of the democratic world offers cover rather than accountability. The irony is glaring: a state acting with impunity abroad, while being shielded under the language of democracy.

This is not the first time the contradiction has played out. For decades, Western democracies lent tacit and material support to apartheid South Africa, justifying ties with a brutally exclusionary regime in the name of strategic interests.

Governments were reluctant to act, but global grassroots solidarity—the boycotts, divestment campaigns, cultural sanctions, and the moral pressure exerted by millions of ordinary citizens worldwide—eventually forced a shift in policy.

The lesson is unmistakable: when democratic governments fail to uphold their professed values, it is often people’s movements that bend the arc of history toward justice.

Today, as Gaza burns under bombardment and Palestinians endure dispossession, the question is whether the world will again allow geopolitical expediency to eclipse moral clarity, or whether civil societies across the globe will summon the determination that helped end apartheid.

The malaise is global. In Sri Lanka, citizens poured into the streets in 2022 against leaders perceived to have mismanaged the economy while shielding elites from accountability. Bangladesh has seen multiple cycles of elections overshadowed by accusations of authoritarianism and corruption. Nepal’s fragile democratic experiment is marred by instability and elite capture. Indonesia, often hailed as a democratic success story in Southeast Asia, faces deepening concerns about oligarchic politics.

Meanwhile, in the developed world, the crisis wears a different mask. Populist leaders in Europe and the United States channel public frustration not against monopoly power, but against immigrants and minorities. Fear replaces solidarity; scapegoating substitutes for justice.

On September 13, Tommy Robinson, a known right-wing activist, gathered more than 100,000 people in London to protest against immigrants and called for them to be sent back to their countries of origin. That has become a new normal in the developed world.

Hannah Arendt’s warning in *The Origins of Totalitarianism* echoes loud: when democratic institutions fail to deliver dignity and equality, resentment becomes fertile ground for exclusion and authoritarian tendencies.

This is a moment of reckoning. If democracy is no more than a platform for monopolies to perform their power, then it has already failed. But history offers another path.

Democracy has survived crises before—from the robber barons of the Gilded Age to the authoritarian temptations of the 20th century. It was rescued every time by popular mobilization: labor unions, civil rights movements, anti-colonial struggles.

As political theorist Chantal Mouffe has argued, democracy can be reinvented—reborn as a politics of the people, not corporations. That requires moving beyond the myth that elections alone equal democracy.

Democracy must be participatory, not performative; redistributive, not extractive. It must empower citizens to shape decisions, hold elites accountable, and resist the monopolization of resources and institutions.

The challenge is formidable, but the alternatives are grimmer still. If citizens resign themselves to democracy’s decline, monopoly power will harden into a new aristocracy.

To resist this, three steps are vital.

First, grassroots organizing: social movements, unions, community groups, and citizen coalitions must rebuild the culture of democratic participation from below. Change has rarely come from elites; it is won by ordinary people demanding dignity.

Second, global regulation of monopolies: unchecked wealth accumulation is not just a national issue. In a world of borderless finance and technology, international cooperation is essential to tax the ultra-rich, regulate corporations, and prevent the capture of public goods by private hands.

Third, strengthening democratic institutions: parliaments, courts, and media must be shielded from corporate capture and political manipulation. Independent oversight and citizen-led accountability mechanisms can help restore credibility to institutions that have lost public trust.

The choice is clear. Either democracy remains a hollow ritual serving monopoly interests, or it is reclaimed as the true expression of people’s will. The hour is late, but not beyond redemption.

As the struggle against apartheid once proved, when people organize across borders and demand accountability, even the most entrenched systems of injustice can be forced to change.

Democracy will either be reclaimed by the people—or it will cease to be democracy.
https://www.thenews.com.pk/tns/detail/1345117-democracy-at-crossroadsfrom-peoples-power-to-monopolys-plaything

Tamil drama ‘Bad Girl’ sets Hindi release on September 26

**Tamil Drama ‘Bad Girl’ Set for Hindi Release on September 26**

*By Isha Sharma | September 21, 2025, 12:39 PM*

The critically acclaimed Tamil film *Bad Girl*, presented by renowned filmmakers Vetrimaaran and Anurag Kashyap, is all set for a Hindi theatrical release on September 26. This coming-of-age drama marks the directorial debut of Varsha Bharath and features Anjali Sivaraman in the lead role as a teenage girl navigating love and desire in the city of Chennai.

The original Tamil version of *Bad Girl* premiered earlier this month, on September 5, to critical acclaim.

**Praise from Anurag Kashyap**

Anurag Kashyap, who is presenting the film, praised *Bad Girl* as “one of the most original stories” he has come across. Reflecting on his first reading of the script, Kashyap said, “When I first read it, it reminded me of how as a young filmmaker I wanted to tell bold stories. Varsha has gone beyond all my expectations and made an excellent film out of it.”

**Director Varsha Bharath’s Vision**

Varsha Bharath revealed that the inspiration behind *Bad Girl* stemmed from her desire to tell a story that mirrors the realities faced by women in society. She elaborated, “Women are constantly defined, confined, and judged. Through the film, I wanted to question the very idea of labels and how easily they are used to diminish women.”

The film is produced under Vetrimaaran’s Grass Root Film Company, with Ranjan Singh as executive producer.

**Anjali Sivaraman on Her Role**

Lead actress Anjali Sivaraman described her role in *Bad Girl* as one of the most challenging and rewarding experiences of her career. She shared, “The role pushed me to confront a lot of questions about identity, freedom, and the judgments women face every day.”

Apart from Sivaraman, the film also stars Shanthipriya and features a musical score by Amit Trivedi. The Hindi version will be distributed by Flip Films.

*Bad Girl* promises to be a bold and thought-provoking film that challenges societal norms and sheds light on important issues regarding womanhood and identity. Don’t miss its Hindi release in theaters this September 26.
https://www.newsbytesapp.com/news/entertainment/tamil-drama-bad-girl-to-release-in-hindi/story

Democracy at crossroads:From people’s power to monopoly’s plaything

Has democracy exhausted its potential? That uncomfortable question haunts political thinkers across the world today. What was once celebrated as the triumph of peoples’ power now appears to be little more than a cover for the consolidation of monopoly capitalism. The result is stark: resources and power are being hoarded by a few, while the vast majority is left with little more than an illusion of choice.

Lenin’s century-old warning that democracy under capitalism would serve as a mask for the interests of the powerful has never felt more prescient. On paper, democracy still thrives. One can see citizens vote, parties campaign, parliaments debate. Yet, beneath these rituals, democracy has been hollowed out.

As political theorist Sheldon Wolin observed, we are drifting toward inverted totalitarianism, where corporations and governments merge into a seamless machine that neutralizes dissent while pretending to uphold democratic ideals. The façade remains; the substance has vanished. It is merely an instrument to legitimize capitalist greed of very few avaricious souls.

Take the United States, where the presidential campaigns of Bernie Sanders — arguably the only mainstream candidate in decades who openly challenged corporate power — were effectively neutralized by his own party establishment. The message was clear: challenges to entrenched wealth and monopoly are not permissible within the bounds of acceptable democracy.

Or look to India, where the rise of corporate titans like Mukesh Ambani and Gautam Adani has been accompanied by political consolidation. The lines between business and governance blur to the point where policies are tailored not for citizens but for conglomerates. The largest democracy and the oldest democracy stand as case studies in how wealth increasingly dictates political destiny.

It is telling that names like Elon Musk or Ambani are spoken of with the kind of reverence once reserved for heads of state. They command not only industries but also governments, with their decisions rippling across borders.

Economist Thomas Piketty has shown that wealth concentration today rivals that of the 19th-Century Gilded Age. Yet the power of today’s billionaires is far more entrenched. Unlike the tycoons of a century ago, today’s moguls do not merely purchase influence; they write the rules, set global norms, and, in some cases, substitute themselves for public institutions.

When governments race to accommodate the interests of billionaires in fields like space exploration, artificial intelligence, and digital communications, it is hard to argue that sovereignty resides with the people. Accumulation of wealth and power in fewer and fewer hands is no longer an exception — it is the defining political reality of our time.

The contradictions of democracy are even sharper when viewed internationally. Prominent democracies — especially the US — have often been quick to side with dictatorships in the developing world whenever it suited their strategic or economic interests. This double standard exposes democracy as more of a geopolitical tool than a universal value.

Pakistan is perhaps the clearest example. Military rulers — from Ayub Khan to Pervez Musharraf — found their regimes legitimized and supported not by the will of the people but by Western powers that claimed to champion democracy. The Cold War, the War on Terror, and regional rivalries all provided convenient justifications for democratic states to back authoritarian regimes abroad.

Thus, people’s will and its expression through democratic systems is a farce.

Nor do the double standards stop there. Israel’s Prime Minister Benjamin Netanyahu, widely seen as one of the most ruthless leaders in modern politics, is, so to say, democratically elected. He continues to enjoy the overt backing of major democracies despite presiding over catastrophic assaults on Gaza and the daily suffering of Palestinians.

Israeli forces strike where they choose, jeopardizing international peace, while much of the democratic world offers cover rather than accountability. The irony is glaring: a state acting with impunity abroad, while being shielded under the language of democracy.

This is not the first time the contradiction has played out. For decades, Western democracies lent tacit and material support to apartheid South Africa, justifying ties with a brutally exclusionary regime in the name of strategic interests. Governments were reluctant to act, but global grassroots solidarity — the boycotts, divestment campaigns, cultural sanctions, and the moral pressure exerted by millions of ordinary citizens worldwide — eventually forced a shift in policy.

The lesson is unmistakable: when democratic governments fail to uphold their professed values, it is often peoples’ movements that bend the arc of history toward justice.

Today, as Gaza burns under bombardment and Palestinians endure dispossession, the question is whether the world will again allow geopolitical expediency to eclipse moral clarity—or whether civil societies across the globe will summon the determination that helped end apartheid.

The malaise is global.

In Sri Lanka, citizens poured into the streets in 2022 against leaders perceived to have mismanaged the economy while shielding elites from accountability. Bangladesh has seen multiple cycles of elections overshadowed by accusations of authoritarianism and corruption. Nepal’s fragile democratic experiment is marred by instability and elite capture. Indonesia, often hailed as a democratic success story in Southeast Asia, faces deepening concerns about oligarchic politics.

Meanwhile, in the developed world, the crisis wears a different mask. Populist leaders in Europe and the United States channel public frustration not against monopoly power, but against immigrants and minorities. Fear replaces solidarity; scapegoating substitutes for justice.

On September 13, Tommy Robinson, a known right-wing activist, gathered more than 100,000 people in London to protest against immigrants and called for them to be sent back to their countries of origin. That has become a new normal in the developed world.

Hannah Arendt’s warning in *The Origins of Totalitarianism* echoes loud: when democratic institutions fail to deliver dignity and equality, resentment becomes fertile ground for exclusion and authoritarian tendencies.

This is a moment of reckoning.

If democracy is no more than a platform for monopolies to perform their power, then it has already failed. But history offers another path. Democracy has survived crises before — from the robber barons of the Gilded Age to the authoritarian temptations of the 20th century. It was rescued every time by popular mobilization: labour unions, civil rights movements, anti-colonial struggles.

As political theorist Chantal Mouffe has argued, democracy can be reinvented — reborn as a politics of the people, not corporations. That requires moving beyond the myth that elections alone equal democracy.

Democracy must be participatory, not performative; redistributive, not extractive. It must empower citizens to shape decisions, hold elites accountable, and resist the monopolization of resources and institutions.

The challenge is formidable, but the alternatives are grimmer still. If citizens resign themselves to democracy’s decline, monopoly power will harden into a new aristocracy.

To resist this, three steps are vital.

First, grassroots organizing: social movements, unions, community groups, and citizen coalitions must rebuild the culture of democratic participation from below. Change has rarely come from elites; it is won by ordinary people demanding dignity.

Second, global regulation of monopolies: unchecked wealth accumulation is not just a national issue. In a world of borderless finance and technology, international cooperation is essential to tax the ultra-rich, regulate corporations, and prevent the capture of public goods by private hands.

Third, strengthening democratic institutions: parliaments, courts, and media must be shielded from corporate capture and political manipulation. Independent oversight and citizen-led accountability mechanisms can help restore credibility to institutions that have lost public trust.

The choice is clear. Either democracy remains a hollow ritual serving monopoly interests, or it is reclaimed as the true expression of peoples’ will.

The hour is late, but not beyond redemption. As the struggle against apartheid once proved, when people organize across borders and demand accountability, even the most entrenched systems of injustice can be forced to change.

Democracy will either be reclaimed by the people — or it will cease to be democracy.
https://www.thenews.com.pk/tns/detail/1345117-democracy-at-crossroadsfrom-peoples-power-to-monopolys-plaything

Tamil drama ‘Bad Girl’ sets Hindi release on September 26

**Tamil Drama ‘Bad Girl’ Sets Hindi Release Date for September 26**

*By Isha Sharma | Sep 21, 2025, 12:39 PM*

The critically acclaimed Tamil film **Bad Girl**, presented by renowned filmmakers Vetrimaaran and Anurag Kashyap, is all set for a Hindi theatrical release on **September 26**. This coming-of-age drama marks the directorial debut of Varsha Bharath and stars Anjali Sivaraman as a teenage girl navigating love and desire in the vibrant city of Chennai.

The original Tamil version of *Bad Girl* was released earlier this month, on **September 5**, to widespread praise.

### Praise from Anurag Kashyap

Anurag Kashyap, who is presenting the film, has lauded *Bad Girl* as “one of the most original stories” he has encountered. Reflecting on the film, Kashyap said:

> “When I first read it, it reminded me of how as a young filmmaker I wanted to tell bold stories. Varsha has gone beyond all my expectations and made an excellent film out of it.”

### Director’s Vision: Challenging Labels on Women

Varsha Bharath revealed that *Bad Girl* was inspired by her desire to tell a relatable story reflecting the societal challenges women face. She explained:

> “Women are constantly defined, confined, and judged. Through the film, I wanted to question the very idea of labels and how easily they are used to diminish women.”

The film is backed by Vetrimaaran’s Grass Root Film Company, with Ranjan Singh serving as the executive producer.

### Anjali Sivaraman on Her Role

Lead actress Anjali Sivaraman described her role in *Bad Girl* as one of the most challenging and rewarding experiences of her career. She shared:

> “The role pushed me to confront a lot of questions about identity, freedom, and the judgments women face every day.”

The cast also features Shanthipriya, and the film’s music is composed by Amit Trivedi. Distribution for the Hindi version will be handled by Flip Films.

With its bold narrative and powerful performances, *Bad Girl* promises to resonate with audiences when it hits theaters in Hindi on September 26.
https://www.newsbytesapp.com/news/entertainment/tamil-drama-bad-girl-to-release-in-hindi/story

PBA: Phoenix inks RJ Jazul, RR Garcia to new deals, signs 3 others

MANILA, Philippines – Phoenix has signed multiple players ahead of the upcoming PBA season, which kicks off on October 5. The team’s new roster additions include a mix of veterans, free agents, and a rookie selected from the recent PBA Draft.

Among those re-signed are veterans RJ Jazul and RR Garcia, both agreeing to new deals to continue their stint with Phoenix. The team also bolstered its lineup by acquiring free agents Yousef Taha and Prince Caperal.

In addition, Phoenix secured second-round draft pick Dave Ando, further strengthening their squad for the season. The team officially announced these signings recently on their social media channels, signaling their preparations and ambitions for the upcoming campaign.

https://sports.inquirer.net/641055/pba-phoenix-inks-rj-jazul-rr-garcia-to-new-deals-signs-3-others

Melting glaciers, displaced lives

The warming of Hunza and the recent glacial lake outburst flood (GLOF) devastation in Ghizer are stark indicators of a shifting climate in Gilgit-Baltistan. In August 2025, floods displaced over 3,000 residents of Talidas village, where three new glacial lakes have formed since the Rawshan GLOF episode—turning many families into climate refugees.

Nestled among towering, ice-capped peaks, the Hunza Valley was once a breathtaking tapestry of pristine snowfields, hardy alpine flora, and crisp cool air. However, this balance has been profoundly disrupted by massive deforestation that transformed the valleys into warmer environments. Widespread deforestation has exposed these once-shimmering icy landscapes to higher temperatures, causing massive melting.

“As a result, solar radiation is now absorbed, raising temperatures at the bottom of the valley,” says Dr. Ghulam Rasool, a former Director General of the Pakistan Meteorological Department and a renowned glaciologist.

Hardy plants once thrived at elevations above 4,000 metres, even in freezing temperatures. Many had needle-like leaves with stomata that remained open in sub-zero conditions. According to Dr. Rasool, between 3,000 and 4,000 metres, broad-leaf trees would survive freezing winters down to -5°C and enjoy summer temperatures as high as 20°C. Below 3,000 metres, fruit-bearing trees such as cherries, plums, and apricots prospered. They withstood 3 to 3.5 months of below-freezing temperatures annually, thriving in warmer conditions for the remainder of the year.

These species thrived until rising global temperatures and widespread deforestation severely undermined the region’s natural resilience. Forests play a vital regulatory role; their dense canopy helps to retain snow and modulate melting rates, stabilising glaciers. As forests diminished, the snowline pushed ever higher into the upper reaches, removing a critical natural buffer and exposing larger areas to rapid erosion and instability.

The deforestation was the first step towards making Hunza an environmental hotspot. Invasive water-consuming trees like poplar and eucalyptus replaced native species, damaging the region’s ecology, says Dr. Rasool. These trees prefer higher and warmer temperatures and have spread across Hunza, contributing to the warming of the once-cooler valleys.

Rising valley temperatures have invited insects that ruin fruit crops, robbing cherries, apricots, and plums of their sweetness and slashing yields. Temperature-sensitive plants, such as olives, have been particularly affected. In Babusar and Shinkiari in neighbouring Khyber Pakhtunkhwa, olive trees once enjoyed luxurious growth, producing high yields of black olives. Locals had even established oil extraction units to process olive oil for cooking and skincare. Today, only some remnants of indigenous olive species continue to bear fruit at higher altitudes. Other varieties have stopped bearing fruit.

Markhors were once abundant in high-elevation grasslands. Now, as valley-bottom temperatures have risen, markhors only descend briefly to drink from rivers before returning to their mountain-peak habitats, explains Dr. Rasool. This shift shows how rising heat is shrinking habitable zones for mountain wildlife.

Loss of snow cover and indigenous vegetation has not only altered temperature regimes but also diminished the region’s ability to support its unique biodiversity and the vibrant natural beauty that once defined Hunza.

According to the Forests, Wildlife and Environment Department, the region once boasted 249,205 hectares of forest cover. However, in recent decades, widespread deforestation and unchecked development have drastically reduced this cover. The result has been serious ecological fallout, including more frequent landslides, flooding, and worsening environmental degradation.

Deforestation, heavy rains, and high temperatures are destabilising glaciers with increasing episodes of glacial lake outburst floods. The 48-year-old mother of three watched helplessly as a biblical deluge roared down the mountains, destroying 80 percent of her village. “The mountains were crying,” she recalls.

The region experienced record-breaking summer temperatures in June and July this year across Gilgit-Baltistan. In Chilas and Bunji, temperatures soared past 47°C, accelerating snow and glacier melt. This was followed by torrential rains—70 percent above the monthly average in July. This combination is a primary driver for GLOFs.

This season saw widespread floods triggered by glacial melt and heavy rains from Ishkoman to Shigar and Babusar Top.

In Hassanabad, Hunza, the situation is more complex. It experienced a surge of Shishper glacier melt in 2018, which resulted in the formation of a glacier-dammed lake by obstructing the water stream originating from Muchuhur glacier in Hassanabad nullah. Four consecutive years of floods from 2019 to 2022 followed due to the formation and bursting of this lake.

However, no flooding occurred in 2023 and 2024 as the glacier surge stopped, and the water channel within Shishper glacier allowed water to flow more calmly. But 2025 triggered havoc for the Hassanabad community as large pieces of the Shishper glacier—almost 2 kilometres long and 80 feet thick—broke off due to calving, partially blocking river flow resulting from increased temperatures. These ice chunks have since fragmented further.

Multiple GLOF events from Shishper glacier caused massive flooding in Hassanabad nullah affecting Dain village, triggered by higher temperatures and extensive rains in the last fortnight of July and the first 15 days of August.

The fourth confirmed glacial lake flooding of this season took place in July in Rawshan village, Ghizer, says Prof. Karamat Ali of the Karakoram International University, Gilgit. This event, stemming from a glacial lake formed in 2022, created another perilous 7-kilometre-long lake by obstructing Ghizer River that displaced 3,000 people from Talidas village. This is the second-largest number of internally displaced persons in the region since the 2010 Attabad disaster, says Prof. Ali.

In Ghizer, Amina Bibi’s life crumbled as a glacial lake outburst flood devastated Talidas village on August 22. The 48-year-old mother of three watched helplessly as a biblical deluge roared down the mountains, destroying 80 percent of the village. “The mountains were crying,” she recalls.

Her family, among 3,000 climate refugees, lost their home, apricot trees, and olive oil stores. “Our hearth, our history—all gone,” Amina says, clutching her late husband’s photo.

According to experts, the discharge from the lake is currently more than the inflow. This is seen as a positive sign; it may drain out on its own if the embankments hold. “The temperatures will fall from September onwards. This will also reduce the inflow to a trickle, easing pressure on the lake,” says Prof. Ali.

With four other glacial lakes in Rawshan posing risk, this underscores the region’s need for vigilance.

The flooding has once again raised questions about reliable early warning systems. Such systems are deployed in the 24 smaller valleys of Gilgit-Baltistan. Prof. Ali says satellite-linked sensors are costly, fragile, and unreliable in large, steep valleys like Ishkoman. Advocating empowering local communities in Gilgit-Baltistan, highlighting their deep knowledge of local terrain and weather, he suggests low-cost, community-operated manual alarm systems—like sirens or bells—to serve as effective early warnings.

Triggered by watchmen upon detecting flood signs, these systems could provide crucial time for evacuation and damage control.

The recent events in Hunza and Ghizer serve as stark warnings of the accelerating climate crisis in Gilgit-Baltistan. Urgent action through reforestation and community-led warning systems is needed to help these valleys regain their resilience and thrive once again.
https://www.thenews.com.pk/tns/detail/1345107-melting-glaciers-displaced-lives

GST effect! TV prices drop up to ₹85,000

**GST Effect! TV Prices Drop by Up to ₹85,000**

*By Akash Pandey | Sep 21, 2025, 12:22 PM*

In a major development for consumers, television manufacturers have announced price cuts ranging from ₹2,500 to ₹85,000 across various models. This significant reduction comes in response to the recent Goods and Services Tax (GST) cut on TVs, effective from September 22, 2025.

### GST Rate Reduction on TVs

The GST Council recently slashed the tax rate on television sets with screen sizes over 32 inches from 28% to 18%. This move is part of the government’s broader initiative to boost consumption by making electronic goods more affordable.

### How Manufacturers Are Responding

Leading TV brands are promptly passing these savings on to customers by lowering the Maximum Retail Prices (MRP) of their products. Sony, LG, and Panasonic have all announced updated price lists reflecting these GST benefits.

– **LG Electronics India** has reduced prices by ₹2,500 to ₹85,800 on a range of models from 43 inches to 100 inches.

– **Panasonic** has cut prices between ₹3,000 and ₹32,000, with 43-inch TVs now cheaper by ₹3,000 to ₹4,700. Additionally, 55-inch Panasonic models have received price cuts of up to ₹7,000, priced between ₹65,990 and ₹76,990. Their premium 75-inch model now costs ₹3.68 lakh, down from ₹4 lakh.

### What This Means for Consumers

The reduction in GST and corresponding price cuts from manufacturers make now a great time to upgrade your television. With savings as high as ₹85,000 on select models, buyers can expect more affordable rates on a wide variety of TVs.

Stay tuned for more updates on price changes and new product launches from major electronics brands.
https://www.newsbytesapp.com/news/business/tv-manufacturers-slash-prices-on-lower-gst/story

Being and other objects

Art exhibitions and fashion shows are not entirely dissimilar, though some differences exist. Both serve as spaces of negotiation between a creative product and a prospective, often prosperous client.

Artworks in a gallery—whether hung on a wall, placed on the floor, suspended from the ceiling, or projected onto a surface—rarely leave their fixed positions. Viewers move around them, drawing closer, shifting direction, and observing from different distances and angles as they choose.

A fashion show, by contrast, places spectators in comfort on either side of the ramp. The order of their seats reflects power, status, and wealth. Designers’ creations are carried by slender, elegant figures who emerge from one end and return to the same point with measured strides, under blazing, flickering lights. Products of imagination are displayed on a luminous runway much as artworks are carefully lit in an exhibition.

Yet amid the glitter, the designer’s couture, evening gown, or wedding dress—like a painting, sculpture, drawing, or photograph—remains a silent entity.

Both visual art and fashion design are vehicles for expressing aspects of human experience: the skin, appearance, physical attributes, material needs, personal observations, cultural phenomena, or inherited traditions, as well as responses to the natural and social environment. Crucially, both disciplines deal primarily with the body—the bare body—as in models posing in life-drawing classes.

Artists across every age and culture have depicted unclothed figures, from the earliest known stone figurine, the Venus of Willendorf (c. 28,000–25,000 BCE), to the present day. Similarly, the study of contour, color, measurement, posture, shape, and structure remains essential for fashion practitioners and students, who also base their concepts and designs on the naked human form.

Whatever label they bear, creative individuals invariably infuse their work with elements of their personality—sometimes subtly, sometimes overtly; occasionally even aggressively. In some instances, these personal traits act as the rope that leads the camel. This is particularly true in societies that are compartmentalized and unreceptive to diversity in gender, ethnicity, class, or faith.

A pertinent example is Pakistan’s Zia era (1977–88), when the state suppressed political, social, and cultural views deemed unacceptable. In response to the repression, some of the work produced during those days was essentially reactionary: once the dictatorship ended, its significance faded, leaving only its historic value. Some other artists, however, developed a language of resistance rather than mere reaction. No wonder their meaning, significance, and contribution have endured.

The same is true for those who feel marginalized in intolerant, patriarchal, and authoritarian communities.

The recently concluded exhibition by Fatima Faisal Qureshi and Fatima Butt, *The Weight of Elsewhere*, explored the relationship between the individual and society. Through Qureshi’s paintings and Butt’s drawings and mixed-media work, the duo disclosed emotions and memories, both recent and distant, as well as reflections on their socio-cultural surroundings.

Although the two artists share a studio and co-run an art gallery in Lahore, each pursues a distinct approach to developing content that is, to varying degrees, familiar and relatable.

Fatima Faisal Qureshi presented figures dressed, half-draped, and nude, depicted either alone or in company. Across her work runs a persistent sense of forlornness, depression, and temporality, hinting at separation. Each piece resembles a snapshot of human exchange, either just before or just after it has taken place.

An exception is the painting *Farewell My Lovers*, in which a party is shown in full swing. Even here, however, the central figure sits in quiet contemplation, one arm resting beneath her head, the other stretched across the sofa. The world Qureshi paints seems to exist beyond the reach of verbal discourse: one of comfort, longing, and an inward gaze.

A number of acts can be discerned in these vigorously and sensuously layered canvases. What unites them is the realization of light. Some of the paintings glow with shades of yellow and green; others are heavy with blues; a few are dominated by reds, crimsons, and mauves. Each, however, is a study of light and its alter ego, darkness.

The emphasis on artificial light in this series recalls Edward Hopper’s most celebrated canvas, *Nighthawks* (1942), in which four figures are caught in the harsh glow of a city’s reflected lights—a scene of urban alienation at an hour of night when time feels immeasurable. In Qureshi’s paintings, too, the world exists in perpetual night.

Across cultures, the division of day and night has long been linked to ideas of good and evil. Phrases such as enlightenment (or en-nightenment, as Ngugi wa Thiong’o once proposed), dark ages, dark continent, dark soul, blackmail, bright white day, and purified self illustrate the value we attach to the two halves of the 24-hour cycle.

Night has often been imagined as the setting for crime or as the force that prompts delinquency within an individual. Equally, the dark recesses of the unconscious are seen as the source of terrible acts we may neither recognize nor intend, and for which we later seek forgiveness.

Beyond its associations with forbidden pleasure, night is also the realm of dreams—a space where another chapter of personality unfolds. Unexpected, shocking, or shameful events occur while our eyes remain closed. What we recall on waking, regardless of the earthly hour, is consigned to night.

Dreams, therefore, are shelved as a reality distinct from the routine one.

In this sense, Fatima Faisal Qureshi’s paintings are scenarios of a freedom not possible in the openness of society. Whether real, imagined, or a fusion of the two, they represent the lens through which the artist views the world and the self—or the self and the other—and the ways in which the self merges into another.

One example is *The Crisis of Love*, a subject familiar to the artist’s studio: the painter, palette, brushes, and canvas on its easel. Yet here, every element is wrapped in ghostly shades of yellow-green, while the model reclines on a chair, legs outstretched. The scene before the viewer is also reproduced on the unfinished canvas within the painting, creating a chain of images within images.

This layering of imagery finds an echo in Fatima Butt’s striking *Encyclopaedia Series*, four works, each with its own subtitle: *The Garden*, *The Dining Room*, *The Living Room*, and *The Bedroom*.

Butt’s photographic prints, mixed media, and ink drawings, shown in the two-person exhibition (August 29–September 12, Kaleido Kontemporary, Lahore), summon memories of childhood in a specific period.

These years are recalled through objects no longer in everyday use and preserved only for their archival value. In each work, Butt arranges groups of small photographs—fragments of the past—in sequence, linking family members’ interactions with their possessions. A key beneath each piece connects the cut-out of an object to its place in the original family photograph of the artist’s parents and siblings.

In each of these works, the photographs are arranged on a quilted sheet draped over a piece of furniture, often accompanied by other decorative items. The artist captures intimate family recollections, a practice familiar across South Asia.

The reminder is clear: it is not the material, condition, or cost of these small objects that matters, but the intimacy, fear, loss, and desire attached to them. They are expressions of their time, and it is these associations that hold a family together.

As Tolstoy observed at the opening of *Anna Karenina*: “Happy families are all alike; every unhappy family is unhappy in its own way.”
https://www.thenews.com.pk/tns/detail/1344869-being-and-other-objects

Hamas releases ‘farewell picture’ of Israeli captives amid Gaza offensive

**Hamas Releases ‘Farewell Picture’ of Israeli Captives Amid Gaza Offensive**

*By Snehil Singh | Sep 21, 2025, 10:19 AM*

Hamas’s armed wing, the Qassam Brigades, has released a poignant “farewell picture” of 48 Israeli captives on social media. The image includes both living and deceased individuals, all collectively identified as “Ron Arad,” a reference to an Israeli air force officer who disappeared in Lebanon in 1986.

This release comes as Israeli forces intensify their offensive on Gaza City, focusing on underground tunnels and booby-trapped buildings in a bid to dismantle Hamas’s infrastructure.

**Hamas Sends Message to Israeli Leadership**

Alongside the image, Hamas issued a direct message to Israeli leaders. The group criticized Prime Minister Benjamin Netanyahu for what it called “intransigence,” and Army Chief Eyal Zamir for “submission.” The statement read:
“Because of Netanyahu’s intransigence and Zamir’s submission: A farewell picture at the start of the operation in Gaza City.”

These remarks arrive amid fierce fighting in Gaza City, with recent Israeli strikes reportedly killing at least 60 Palestinians.

**Hostage Situation Remains Dire**

Hamas claims the captives are dispersed across various neighborhoods in Gaza City and are at significant risk due to ongoing Israeli bombings. Previously, Hamas released videos showing the hostages in poor health, including one disturbing clip of a captive apparently digging his own grave.

These videos have drawn condemnation from hostage families and international allies, including the United States, who describe such releases as psychological warfare.

**Public Outcry and Protests in Israel**

The publication of the “farewell” picture has sparked outrage, with mass protests expected to unfold in Tel Aviv and other Israeli cities. Demonstrators are demanding that the government take immediate action to secure the release of captives and work toward ending the conflict.

Meanwhile, the Israeli military continues its operation against Gaza City, targeting underground shafts and booby-trapped sites.

**Intensified Demolition Campaign in Gaza**

Israel has also ramped up its demolition campaign against high-rise buildings in Gaza City. Military efforts are concentrated on the Sheikh Radwan and Tel Al-Hawa neighborhoods. Recent estimates suggest that up to 20 tower blocks have been destroyed in the last two weeks.

Israeli media report that more than 500,000 residents have fled Gaza since early September, although Hamas disputes these figures.

*Social media continues to circulate the controversial “farewell picture,” fueling heightened tensions as the conflict escalates.*
https://www.newsbytesapp.com/news/world/hamas-shares-farewell-photo-of-48-israeli-captives/story

Will Priyadarshan direct ‘Hera Pheri 3’? Director reveals

**Will Priyadarshan Direct ‘Hera Pheri 3’? Director Reveals Plans**

*By Isha Sharma | Sep 21, 2025, 11:21 AM*

Priyadarshan, the acclaimed director behind the original *Hera Pheri* (2000), has finally addressed the ongoing speculation about his potential return to helm *Hera Pheri 3*. In a recent interview with Pinkvilla, he shared his thoughts on the project and the conditions under which he would consider directing the much-anticipated sequel.

### Priyadarshan’s Take on Directing *Hera Pheri 3*

The director made it clear that he would only commit to *Hera Pheri 3* if the script is strong enough to live up to the legacy of the original film. “I cannot tell if I am doing the third part unless and until I can crack a film which has to do justice to the first installment,” he explained.

### Protecting the Legacy

Priyadarshan emphasized the importance of maintaining the quality and spirit of the first movie. “The first part was born, but the third one shouldn’t let it die. If I am doing the film, I have to make sure that it is tolerable for people who watched the first part,” he said, underlining his commitment to respect the franchise’s fanbase.

### Commitment to Quality

Further expressing his conviction, the director stated, “Unless and until I crack the full film, I will never attempt part three. If a good script doesn’t turn out to my conviction, I will not do the film. I have climbed certain heights in my career from where I don’t want to fall badly.”

### Film Update: Paresh Rawal Confirms Progress

Meanwhile, actor Paresh Rawal, who plays one of the lead roles in the franchise, recently confirmed that *Hera Pheri 3* is in the works. In an interview with News18 Showsha, Rawal revealed that shooting is expected to commence around February-March of next year.

Rawal had briefly stepped away from the project but eventually returned, emphasizing that his professional relationship with Priyadarshan has only grown stronger through the challenges the project has faced.

*Fans of the cult classic can look forward to more updates as the team works towards bringing the next installment to life—provided the script meets the high expectations set by its beloved predecessors.*
https://www.newsbytesapp.com/news/entertainment/priyadarshan-reveals-if-he-will-direct-hera-pheri-3/story