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Express Tribune
22-05-2025
- Entertainment
- Express Tribune
Is feminism really that easy?
Known for Sabaat and currently starring in Sher, actor Sarah Khan's recent rejection of feminism was delivered with casual ease. "I'm from the old times," she told Independent Urdu. "I'm a stay-at-home woman. I don't like standing in long queues to pay bills." Among Pakistani actors, it's become almost a ritual to distance themselves from feminism. By doing so, Sarah joins a growing list of celebrities who risk being labelled ungrateful, deluded, brainwashed — or, perhaps most cuttingly, a "pick me." But set aside, for a moment, the troubling ease with which "pick me" accusations are lobbed at unpopular women. Sarah's remarks might actually be the most honest a celebrity can afford to be. In Pakistan's entertainment industry — and, to varying degrees, far beyond it — any political stance is a liability. But Pakistan's entertainment scene also comes with its own peculiar set of restraints: given the lamentable state of storytelling across its small and big screens, feminism might well spell the end of homegrown cinema and television as we know it. Could Sarah embrace feminism and still survive in this business? If all the internet demands is a declaration, then there's no expectation that she challenge the industry's tired tropes: marital rape framed as romance, cheating husbands and weeping wives, villainous in-laws on loop. And yet, even those who do claim feminism rarely escape scrutiny. In another timeline, Sarah might call herself a feminist - and still end up like Mahira Khan, defending Humsafar as decidedly feminist. Unless she waits for a script that aligns with her politics — a patience more feasible for veterans like Sania Saeed than for the younger lot — Sarah, like many, must navigate an industry with few real choices. Celebrities may not be anti-feminist so much as anti-permanence, determined to keep all doors open in a volatile landscape. At this cultural juncture, perhaps it's time to retire the reflexive urge to dismiss them as uninformed or unserious. After all, feminism doesn't require credentials. Or does it? Of flawed feminists Of all the accusations hurled at women who reject feminism, "pick me" might be the most accurate - not with derision, but as a simple observation. These women do get picked, or at least, they don't get dropped. It is far easier to be a perfect anti-feminist than to be a flawed feminist. In 2025, the internet remains the primary venue for these debates. It is many things — chaotic, compulsive, connective — but it is not, by design, a place for dialogue. In lieu of coalition, we get temporary publics that vanish with a single accidental refresh. Sarah's remarks, unfortunately but unsurprisingly, are rewarded. She earns the approval of many women, even more men, her corporate backers, and, most reliably, the algorithm and its appetite for controversy. In contrast, claiming feminism would likely win her no one - not even feminists. Consider, for instance, the loudly marketed feminism of Priyanka Chopra or Gal Gadot, which always stops short of calling out the genocidal regimes they represent. This is simply because feminism, unlike celebrity culture, has never been about victories or perfection - both imply a final destination, a tangible reward. But feminism is, and has always been, a long, often grueling project of constructing alternatives. When Sarah says she isn't a feminist because she doesn't like standing in queues to pay bills, it's hard not to smile. Who has ever dreamt of engaging with mind-numbing bureaucracy? However, to move from personal inconvenience to structural critique — to ask who is forced to endure such banalities and who can afford to opt out — requires a working knowledge of class, capitalism, and economic inequality. Sarah's discomfort is valid. She has two choices: repeat polite, vague affirmations of "women's empowerment" or be honest about what bothers her. Shorthands without shelter It can be an uncomfortable realisation, especially for those whose first exposure to feminist politics comes online: the "right" politics is not a moral instinct and in fact, requires labour and access. Harsh realities, too, are not always radicalising, not unless you find others to hold onto. Isn't this why we extend grace to our mothers? Most would never call themselves feminists, yet we recognise in their lives the slow work of navigating time, access, and patriarchy. This grace comes from understanding that naming something is a privilege; not everyone has the means or the language to do so. Despite the many ways of practicing feminism, it's language is still a matter of access and cultural capital — online and offline both. But even the language aside, to suggest that feminism should come naturally — without friction, without labour, without missteps — misses the point of any resistance movement. At any given moment on the Pakistani internet, someone is explaining, often impatiently, why using the n-word is wrong, why blackface is racist, or why cultural appropriation matters. Frequently, this confidence to correct comes from assuming proximity to discourse equals clarity. God forbid anyone asks why feminism is good or racism is bad. These are no longer merely uncomfortable questions, but bad-faith attacks that feminists are all too tired to answer. A natural reflex to these presumably futile remarks is to let disappointment or betrayal creep in. It is a good strategy to cope with the bad days. But good days must come bearing patience for an unlearning that takes its sweet time. After all, both vitriol-spewing trolls and young feminists will find us in the same world of shorthands. In this world, there is no luxury of time and space to write in case you missed it, when ICYMI is an option. We know that Instagram/TikTok reels perform best at under 60 seconds, that X posts are limited to 280 characters, and that long, boring blocks of text belong to Medium or LinkedIn. It is within this sheer compression of context that many find feminism and anti-feminism that come too easily, more as identity than practice. While one can survive being stripped of context and care, the other cannot. This is why it simply should not matter whether Sarah calls herself a feminist or not. And without doubt, calling Sarah a "pick me" is more damaging than her remarks about feminism. After all, saying "I am a feminist" is just another shorthand unless there is a corresponding space to figure out whatever the hell that means.
Express Tribune
19-05-2025
- Entertainment
- Express Tribune
Alyana sweetly spills beans on Sarah Khan's second baby
Listen to article Popular Pakistani actress Sarah Khan has once again sparked headlines, this time over rumours of a second pregnancy. A recent vlog by her husband, singer Falak Shabir, has been widely circulated online after their daughter, Alyana Falak, appeared to hint at the news. In the video, Falak is seen asking his daughter, 'Where is the baby?' to which Alyana points to Sarah and replies, 'The second baby is with mummy.' The moment fuelled widespread speculation that the couple is expecting their second child. Meanwhile, Sarah Khan has also made waves recently with a separate video in which she distanced herself from feminism, stating, 'I'm not a feminist and I believe men should do men's work.' She added that men should be given their due space and responsibility so women can live peacefully. The couple welcomed their first daughter in 2021 and remain among the most beloved celebrity pairs in Pakistan's entertainment industry.
Business Insider
16-05-2025
- Business Insider
I've lived in 6 places since becoming a digital nomad last year. One stood out above the others.
Last year, Sarah Khan, 33, and her husband moved out and became digital nomads. So far, they've worked from Bali, Rome, Tuscany, Bangkok, Phuket, and Alicante. Bali has been her favorite place to work. The Mediterranean sparkles to my left as I type from a foldable desk on the terrace of a cozy home in a quiet coastal town in Spain. Rolling green hills stretch to my right, framing the space that will be home for the next three months, until we pack up and move again. It's been 12 months since my husband and I embarked on a nomadic life. We sold everything, ended our four-year apartment lease in Singapore, and boarded a one-way flight to Bali. Since then, we've worked from Bali, Rome, Tuscany, Bangkok, Phuket, and now the coast of Alicante in Spain. Friends and fellow travelers often ask, "Where's your favorite place to work?" I'm sometimes hesitant to answer because it's so subjective. Choosing a base as a nomad involves a different set of criteria than picking a vacation spot. For me, factors like community, longer-stay visas, reliable WiFi, easy access to nature, and a vibrant wellness scene are at the top of the checklist. Still, if I had to choose, the place that stands out— and one I'd happily return to — is Bali. I felt at home Bali was my first port of call as a digital nomad, and I spent a happy four months working and living there. Despite internet discourse about how "overrun" parts of the island have become, it remains my favourite place to work remotely to this day. Perhaps I'm biased — with my Indonesian roots and years of vacationing there, I feel instantly at home. My husband and I chose Berawa as our base, a laidback neighbourhood just outside the buzz of Canggu. Located on Bali's southern coast, Canggu has transformed from a sleepy surf village into the island's hippest enclave, packed with trendy cafés and black sand beaches that draw yogis and surfers in equal measure. This was my first time staying in Berawa, and it turned out to be the ideal spot for an extended stay. You get proximity to the action of Canggu without actually living in the thick of it. My two-bedroom villa, tucked down a quiet lane off a main road, placed me less than 10 minutes from central Canggu. Bali's cost of living has crept up in recent years, but it still offered value for our longer stay. Our villa rent was $1,800 a month, which included a pool, fast WiFi, and weekly cleaning — less than half of what I'd paid for my apartment in Singapore. A remote worker's dream setup Bali was an easy place to get started on my nomad life. The island is exceptionally well-equipped for long stays: the WiFi is generally reliable, there are plenty of supermarkets and pharmacies available for daily necessities, and ride-hailing apps are affordable and convenient. After a year on the road, I've come to appreciate how rare this combination is. The island also boasts one of the best remote work ecosystems I've experienced, from coworking spaces like Outpost and BWork to laptop-friendly cafés. I rotated through a few favourites: the workspace upstairs at Woods, Zin Cafe, and Lighthouse, a coworking café with beautiful rice field views and its own on-site podcast and video studio. It's also easy to stay active and healthy in Bali. Gyms, yoga studios, and affordable massages are aplenty, especially around Berawa. And food options are great: from warungs serving fragrant local dishes to health-forward cafés and world-class restaurants. When work felt overwhelming and I needed a break, I could hop on a scooter and be at the beach in minutes. There were also many options for weekend escapes: We managed trips to the pristine Nusa Lembongan and Ceningan islands, a day trip to serene Sidemen, and explored the east coast's slower-paced beach towns like Amed and Candidasa. These experiences revealed a quieter, more — one I'd missed on past short trips. The downsides Of course, no place is perfect. Traffic in Canggu can be chaotic, and the island's infrastructure is still catching up with its tourism growth. There's also a digital nomad community that, at times, can feel like a bubble and disconnected from authentic local life. But once you find your rhythm and favourite nooks, it's easy to tune out the noise and settle into Bali's slower, softer pace. I made it a point to skip the touristy spots, stay just outside the main areas, and design my life and routine around the kind of experience I wanted. A year into nomadic living, I've felt uprooted, disoriented, and occasionally exhausted. But in Bali, I found a version of myself I liked: Focused, centered, and rested.
News18
30-04-2025
- Entertainment
- News18
Pakistani Film Sher Accused Of Plagiarising Scenes From Deepika-Ranveer's Ram Leela
Last Updated: The teaser of Pakistani drama Sher, starring Danish Taimoor and Sarah Khan, is accused of copying scenes from Bollywood's Goliyon Ki Raasleela Ram-Leela. The new teaser of the Pakistani drama Sher, starring Danish Taimoor and Sarah Khan, has courted controversy online. Viewers are accusing the creators of ripping off scenes from the hit Bollywood film Goliyon Ki Raasleela Ram-Leela, starring Deepika Padukone and Ranveer Singh. Just days after its release, the teaser has been accused of looking eerily similar to a famous moment from the 2013 Sanjay Leela Bhansali film. In that scene, Deepika and Ranveer, playing lovers from rival families, face off while aiming guns at each other. In Sher, Danish is seen holding a gun, and Sarah, dressed in a traditional ghagra choli, stands her ground with a weapon of her own. The tense, charged standoff has fans pointing out the obvious parallels to that iconic Ram Leela moment. Take a look at some reactions here: Acha Ramleela ka sasti version bhi aa gaya pak mein😂 — Debasish Singh (@cricdebasish) April 29, 2025 This isn't even Ramleela. This is Badlapur leikin bohot zyada sastay main. — Koko (@brerkhargosh) April 29, 2025 The makers of Sher have not yet responded to the plagiarism claims, and the lead actors, Danish Taimoor and Sarah Khan, have also stayed silent on the matter so far. Sanjay Leela Bhansali's Goliyon Ki Raasleela Ram-Leela is a retelling of Shakespeare's Romeo and Juliet, set against the backdrop of two warring families, the Rajadis and Saneras, in a fictional Indian town. Ranveer Singh plays Ram, a carefree charmer from one clan, while Deepika Padukone's Leela is the fierce and fiery daughter of the rival family. Their intense romance blooms despite their families' hatred, but as love clashes with loyalty and blood ties, tragedy takes center stage. The film released in November 2013. It also starred Richa Chadda, Supriya Pathak, Gulshan Devaiah, Sharad Kelkar, Raza Murad and others. First Published:
