United News of Bangladesh

Akshay Kumar and Saif Ali Khan have reunited on screen after 18 years in Priyadarshan’s latest film Haiwaan. Following its release, the movie has generated a strong response on social media, with viewers particularly praising the performances of both actors. Akshay Kumar’s portrayal of the antagonist has emerged as one of the film’s major attractions, with many viewers describing his performance as intense, frightening and convincing. Social Media ReactionsOne viewer praised Kumar’s transformation into the character, saying the actor delivers a psychologically complex performance filled with dark and disturbing elements. The fan highlighted the opening sequence and climax as moments in which Kumar particularly stands out. The same viewer also praised the film’s visual presentation, cinematography and background score. According to the reaction, the story carries shades of Cape Fear, while Saif Ali Khan’s character receives considerable emotional depth. The screenplay reportedly gains momentum during the second half, particularly through the cat-and-mouse chase sequences, while the ending was described as satisfying, with a surprise cameo adding to the experience. Another viewer called Haiwaan a gripping psychological thriller driven by strong performances from Akshay Kumar and Saif Ali Khan. The user also praised the stylish visuals and background music, noting that Priyadarshan successfully maintains tension, particularly in the latter half, before delivering an unexpected ending. A fan described the movie as an intense and thrilling revenge story, praising the performances of both leads and the engaging first half. Another viewer singled out Akshay Kumar’s portrayal of the villain, calling it terrifying and impressive and praising his screen presence, attitude and intensity. Saif Ali Khan was also described as solid, although the viewer felt Kumar dominated the villainous role. One social media user said Saif Ali Khan was impressive in the lead role, while Akshay Kumar “nailed” his portrayal of the antagonist. The face-off between the two actors was described as a major attraction for audiences. The viewer felt the film could have been about 15 minutes shorter but still considered it an engaging watch. Another fan praised Priyadarshan’s direction and described the first half as strong. The viewer also expressed admiration for Akshay Kumar’s acting and praised Saif Ali Khan’s return to the big screen after a long gap. About HaiwaanHaiwaan also features Boman Irani, Shriya Pilgaonkar, Saiyami Kher, Sharib Hashmi, Rajpal Yadav, Rajesh Sharma, Pahal Chaudhary and Manoj Joshi in important roles. The film has been produced by Venkat K. Narayana and Shailaja Desai Fenn under the banners of KVN Productions and Thespian Films. source: NDTV

Twenty-four Israeli military insiders including intelligence officers and soldiers give insight into the war in Gaza and what they say is the systemic killing of Palestinian civilians in “NAZA,” a documentary that's having its world premiere Thursday at the Venice Film Festival. The film was made by Yuval Abraham and Rachel Szor, the Israeli filmmakers behind the Oscar-winning documentary “No Other Land." “NAZA” was shot in secret on rooftops in Tel Aviv across three years and its subjects’ identities are obscured, with digital alterations of their voices and appearances. The film’s title references an Israeli military acronym used as a shorthand for civilian casualties, including men, women and children. Testimony from Israeli military insiders The subjects in the film detail the surveillance systems and remote bombing involved in the Israeli military's operation, which they say uses artificial intelligence to identify potential Hamas targets and bomb their homes and apartments often knowing that families are inside. “We just told these officers and soldiers, please describe to us what you did,” Abraham said in a news conference Thursday. “Of course there were other questions that arose but the principal question was a question of detail — sketch it for us, we want to know how it worked. And sometimes just asking the question, you get answers.” “NAZA” builds on reporting between 2023 and 2025 published by the Israeli-Palestinian +972 Magazine, the Hebrew-language outlet Local Call and The Guardian. Szor spoke about the purpose of making a film with information that has already been reported and published. “We felt that there is still some sort of importance to take those testimonies and put it in a film,” Szor said. “It’s different to hear, actually, the people who designed and operated those systems talk about it in front of a camera, and sketch it, show it.” “NAZA” was produced by The Guardian and filmmakers behind “The Zone of Interest." It is the only documentary competing for the Golden Lion award, and one of two with a female director. It was a late add to the festival, which producer James Wilson said was at their request, in part to allow them to finish the anonymization of their subjects. Keeping the focus on the victims, not the subjects The film doesn’t dwell on what motivated their subjects to speak. Abraham noted that some expressed remorse, some didn’t; some deliberately spoke in Hebrew, some spoke out of indifference and pride. The filmmakers and producers were inspired by “The Zone of Interest” filmmaker Jonathan Glazer’s note that in his film the victims are out of the frame, but never out of mind. “We felt that by focusing too much on these feelings of remorse or guilt that exist, we would be taking away from the core of the film,” Abraham said. “And the core of the film is a system of killing that has killed more than 70,000 Palestinians in Gaza — estimates say the real number is much higher — the way it worked and the way the world allowed it to happen. This is the heart of what we want to do.” Wilson also spoke about the antisemitism accusations that are sometimes thrown at projects critiquing the actions of the Israeli government. “I myself actually don’t think there are any connections with Judaism or Jewishness and the policies of the Israeli government,” Wilson said. Bearing witness, from ‘No Other Land’ to ‘NAZA’ Abraham and Szor were two of the four directors of the 2025 best documentary winner “No Other Land,” the story of Palestinian activists fighting to protect their communities from demolition by the Israeli military. A collaboration between Israeli and Palestinian filmmakers, it was made between 2019 and 2023, wrapping production days before Hamas launched its deadly Oct. 7, 2023 attack on Israel that started the war in Gaza. On that day, Hamas-led militants attacked Israel, killing some 1,200 people and taking 251 as hostages. In Israel’s ensuing offensive, more than 73,422 Palestinians have been killed in Gaza, according to Gaza’s Health Ministry. The ministry does not distinguish between civilians and militants but says women and children make up around half of all fatalities. “The killing of civilians in Gaza is ongoing,” Abraham said. “Just this week while we were at the festival there was a seven-year-old girl killed with her father in their car … what we are showing is something that is very much ongoing.” “I think our film is showing that this is not some mistake. It’s not an accident. It’s something very, very systemic,” he added. “And this should have been apparent to everyone, I think, from the start. But we are showing it from the inside, with insider testimony.” The ongoing conflict is top of mind at the Venice Film Festival The areas Israel controls in Gaza have been mostly destroyed and depopulated. Most of the territory’s 2 million Palestinians are in areas that remain under Hamas control. Israel has continued striking Gaza, saying it’s targeting Hamas and its infrastructure. Israel blames Hamas for the heavy civilian casualties in Gaza, saying the militant group operates in residential areas and uses civilians as human shields. The military has acknowledged using artificial intelligence to help identify targets, but maintains no strike is carried out without human involvement. “When it comes to ‘pressing the red button,’ only a person can do it,” said an Israeli military official, speaking on condition of anonymity pending a formal statement from the army. The war was top of mind at last year’s festival as well, where thousands gathered for a large pro-Palestinian protest in hopes of redirecting the spotlight from the movie stars to the real world. The subject was also prominent in the program: Kaouther Ben Hania’s “The Voice of Hind Rajab,” about the death of a 6-year-old girl attempting to flee Gaza City with her family, won the festival’s Silver Lion award. Ben Hania is part of the Maggie Gyllenhaal-led jury that will be selecting the award winners at the festival. Winners will be announced on Sept. 12.

The 1980s have made a comeback on social media, with Bollywood celebrities joining a viral Instagram trend featuring retro-inspired looks created with artificial intelligence. Kiara Advani, Sidharth Malhotra, Shruti Haasan and several other celebrities have embraced the nostalgic trend, sharing their own versions of 80s-style images with their followers. Kiara shared an AI-generated image on her Instagram Stories featuring herself and her husband Sidharth Malhotra in retro avatars. Sidharth, known for Ek Villain, appeared in a classic double-denim outfit paired with dark aviator sunglasses. Kiara opted for the colourful fashion associated with the era, wearing a vibrant pink outfit with puffed sleeves. She completed the look with oversized hoop earrings and bangles. She also added Sidharth's romantic song “Samjho Na” from his upcoming film The Vvaan to the post. Actor Ameesha Patel also joined the trend in a neon-pink retro outfit featuring a one-shoulder top and denim shorts. She accessorised the look with leg warmers and white-and-pink sneakers while posing on a large boombox. Shruti Haasan, however, went further back in time, sharing an image inspired by the 1960s rather than the 1980s. The actor appeared in a hippie-inspired look featuring a printed top, matching headscarf and blue jeans. Tahira Kashyap, wife of actor Ayushmann Khurrana, and Saba Ali Khan, sister of Saif Ali Khan, also participated in the trend, sharing their own retro-inspired images on social media. How to create an 80s-inspired AI photo Creating an 80s-style image using AI is relatively simple. Users can upload a clear photograph to an AI image-generation tool such as ChatGPT and ask it to place the person in an 80s-inspired setting while retaining recognisable facial features. To give the image an authentic retro feel, users can include elements such as voluminous hairstyles, colourful clothing, denim jackets, statement accessories, vintage interiors, Bollywood-inspired backgrounds, warm lighting, faded tones and a film-grain effect. The generated image can then be refined by adjusting details such as the hairstyle, outfit or background while keeping the person's identity intact. The viral trend highlights how AI is giving social media users an easy way to recreate and revisit styles from the past. Source: NDTV

Legendary singer Runa Laila is alive and healthy, her daughter Tani Laila said Wednesday, strongly dismissing fake reports and AI-generated videos and images claiming that the veteran singer has died or is critically ill. In a Facebook post, Tani expressed anger over the circulation of what she described as fake news and AI-generated content, saying such material is being produced to generate revenue through online platforms. "Absolutely sick and tired of these kinds of posts, AI generated YouTube videos and fake news just to generate a few cents in revenue!!!" she wrote. She said she would personally report such content one by one until those responsible stopped spreading misinformation. Tani said her mother had dedicated six decades of her life to music and criticised those who continued to disrespect her by creating and circulating false reports about her. "My mother has dedicated 6 decades of her life to music and her fans and people continue to disrespect her in this manner, what an absolute disgrace and shame on us!!!!" she wrote. Clarifying the situation, Tani said, "She is very much alive and healthy, no one is dead, dying, at death's door…." She specifically identified the videos and images being circulated as AI-generated and urged media outlets to verify information before publishing or sharing such claims. My request to the media, pls verify the information is correct and do your due diligence!" she said. Tani also urged Runa Laila's followers to report social media accounts that circulate such fake content. The post came amid the growing circulation of AI-generated videos and images on social media, where fabricated claims involving public figures can rapidly reach large audiences. Runa Laila, one of Bangladesh's most celebrated singers, has had a career spanning six decades and has earned widespread recognition for her contribution to South Asian music. She is currently very much active in the music scene with global tours and concerts.

Drishyomadhyam Samaj, a platform of cultural and media personalities, has strongly condemned the attack, physical harassment and humiliation of actor Azmeri Haque Badhon in Italy and demanded a fair and impartial investigation into the incident and legal action against those responsible. In a statement issued in protest against the incident on Wednesday, the organisation said targeting an artist because of her political position, freedom of expression or support for people subjected to oppression is not only condemnable but also a direct attack on freedom of opinion, human rights and human dignity. The statement said Badhon and her colleagues were in Italy to represent Bangladesh at the prestigious Venice Film Festival when the incident allegedly involving a group of aggressive individuals took place, adding that the incident had tarnished Bangladesh's dignity on the international stage. Drishyomadhyam Samaj also referred to Badhon's role during the July mass uprising, saying she, along with many other artists, had publicly expressed her position against injustice, killings, repression and oppression during the movement against authoritarian rule. "An artist's freedom does not depend on allegiance to any particular political opinion," the statement said. It stressed that a person who has the right to speak also has the right to remain silent, while others have the right to disagree with an artist's views. However, it said, no one has the right to insult, intimidate or physically assault an artist because of such differences. The organisation further said opposition to a political opinion could never be a licence for violence. "Putting hands on a woman artist, publicly harassing her and intimidating her is not the language of protest; it is sheer violence," the statement said, describing such conduct as a repetition of an old culture of 'fascist power' in which physical force replaces argument and fear replaces dialogue. The statement also invoked the country's historical experiences of the Liberation War and the July mass uprising. "The great Liberation War taught us that lives can be sacrificed for freedom. The July mass uprising taught us that it is possible to overcome fear and speak out," it said. Against this backdrop, the organisation said it would not accept any attempt to intimidate, harass or attack an artist for expressing an opinion. It said the principles of equality, human dignity and justice reflected in the spirit of 1971 and 2024 include the right to speak, the right to hold differing opinions and the right to stand against oppression. Drishyomadhyam Samaj demanded a proper and impartial investigation into the attack, identification of those involved and their prosecution under the law. At the same time, it expressed 'firm solidarity' with Badhon, stressing that an artist's body should never become a site of political retaliation and an artist's voice should not be held hostage by fear. "Let there be opinions against opinions and arguments against arguments, but not violence," the organisation said. The statement also alleged that some individuals associated with the Awami League were behind the attack, linking the incident to Badhon's political position and her public stance during the July mass uprising. The statement was signed by a large number of artists, cultural activists and individuals from the country's creative community, including Humaira Bilkis, Munem Wasif, Ahmad Ibn Arif, Fahim Islam, Yasir Al Haq, Ziaul Islam Nahid, Sayed Uzzal, Khandaker Tanvir Murad, Dhruvo Hasan, Syeda Nilima Dola, Shimul Salahuddin, Sajib Tanvir, Mayeda Tarha Bidushy, Mosfiqur Rahman Johan, Muhibbul Muktadir Tanim, Mishuk Ashraful Awal, Abdul Halim Chanchal, Edila Farid Turin, Arif Noor, Tanim Noor, Raqiba Amatul Karim, Md Saiful Islam, Tahmid Chowdhury, Md Al Hasib Khan Ananda, Tofazzal Hossen, Sarker Protick, Taslima Akhter, Manzur Al Matin, Zahirul Islam Kochi, Sara Ahmed, Abhijit Shuvo, Tanveer Al Azad, Anarjo Murshid, Dr Aaron H Siddiqua, Susmita Ray Supti, Mahtab Uddin Ahmed, Abdullah Baig, Md Raihanur Rahman, Shayan Saman, Neamoth Ullah Masum, Ayman Asib Shadhin, Abid Sarker Shohag, Mostafizur Rahman Masud, Mushfiqur Rahman, Mohammed Romel, Mahtab Uddin, Monjurul Ekram, Mohammad Qayum, Amirul Rajiv and Mohammad Monir Hossain. The other signatories include Shah Newaz Shaikat, Md Tanvir Rahman, Anupam Shaikat Shanto, Tanmoy Karmoker, Marzea Mithila, Manoj Pramanik, Jaheen Faruque Amin, A K M Atikuzzaman, Tanzim Wahab, Saydia Gulrukh, Hasan Robayet, Naim Ul Hasan, Momin Setu, Mahmudul Raafiq, Tajmiya Jaheen, Mozahid Md Zihad, Fariha Shams Sheuti, Laboni Mondol, Nazmus Sakib, Rafiqujjaman Farid, Rebeka Neela, Anup Kundu, Rubayet Mahmud, Abdullah Seru, Marium Rupa, Farhadul Alam, Tahmidal Zami, Mahfuz Chowdhury, Md Monwar Hossain, Krishnendu Chattopadhyay, Prof Dr Hasan Ashraf, Anis Raihan, Arunima Islam, Mir Lokman, Sadiq M Alam, Rahat Mustafiz, Snigdha Sultana, Rabin Haque, Tanha Zafreen, MD Abdul Wahab Sakin, Md Tauhidul Islam, Nazmul Ahmed, Anusheh Anadil, Firoz Ahmed and Tanvir Ahsan.

Thirty years after cumbia singer Gilda died in a road accident, thousands of her admirers continue to visit the site of her death, seeking miracles, healing and protection from the beloved Argentine performer. Born Miriam Alejandra Bianchi, Gilda was 34 when the tour bus carrying her and her band collided with a truck. She died on Sept 7, 1996, but her popularity grew after her death as fans began to regard her as a miracle-working folk saint. At a shrine near the crash site, devotees gathered Monday to mark the 30th anniversary of her death. Some prayed quietly while others sang and danced to her best-known songs. Gilda became a nationally popular figure during her lifetime through her cumbia music, a style of Latin dance music deeply rooted in Argentine popular culture. Her posthumous album went double platinum, while several of her songs became widely recognized anthems. Fans began travelling annually to the site where she died, sharing accounts of dreams in which Gilda appeared and stories of prayers they believe she answered. Although she has not been formally recognized as a saint by the Catholic Church, devotees invoke Gilda in much the same way Catholics pray to officially recognized saints, asking for healing, protection and assistance during difficult times. The wreckage of the tour bus has been preserved as a memorial near a national highway beside Argentina's Paranacito River. It is now covered with flowers, stuffed toys, candles and handwritten messages seeking help. A nearby chapel contains wedding dresses from women who say their prayers to Gilda helped them marry, along with sports trophies and jerseys, discarded crutches and police uniforms left by devotees who attribute personal achievements or recoveries to her intercession. “For me, it’s about faith — putting everything in God’s hands and asking Gilda to intercede,” said Julia Domínguez, 63, who credits Gilda with helping cure growths on her vocal cords nearly two decades ago. Folk saints remain popular Gilda's shrine, roughly a two-hour drive from Buenos Aires, reflects Argentina's long-standing tradition of popular religious devotion outside formal Catholic institutions. Unofficial figures such as Gauchito Gil, a 19th-century outlaw often compared to Robin Hood, and Difunta Correa, a woman from Argentine folklore believed to have miraculously breastfed her baby after death, have large followings across the country. Former Argentine football star Diego Maradona has also attracted a form of quasi-religious devotion from some fans. Cleopatra Barrios, a researcher of popular religion at Argentina's national scientific research body Conicet, said devotees commonly describe folk saints as companions who remain present in their daily lives. “Miracles aren’t understood as they are from the institutional Catholic point of view, as something extraordinary. Here, they’re things that happen every day,” she said. Gilda's connection with ordinary people has also contributed to her enduring popularity. During her career, she performed in prisons and maintained personal contact with fans through handwritten letters. Paola Martini, 46, who arranges pilgrimages to Gilda's shrine from different parts of Argentina, said she regularly asks the singer to accompany her through difficult moments. Church keeps distance but embraces devotees Catholic authorities have not directly opposed devotion to Gilda and other folk saints but have encouraged worshippers to keep God at the centre of their faith. Two priests celebrated Mass at the shrine on Monday but did not refer to Gilda as a saint. The enduring popularity of folk saints comes as the Catholic Church faces declining influence and competition from other Christian denominations in Latin America. Pope Leo XIV is scheduled to visit Argentina, Uruguay and Peru in November on his first trip to South America as pope. Argentine church officials told local media that he is expected to visit a Buenos Aires prison and a centre serving people with disabilities, although the Vatican had not immediately confirmed the itinerary. At Gilda's shrine, however, devotees see no conflict between their Catholic faith and their devotion to the singer. “In the end, sainthood isn’t always decided by the church. Sometimes, the people recognize it first,” Domínguez said.

The cultural connections, shared heritage and resilience of communities living across the Sundarbans of Bangladesh and Kolkata were highlighted at the closing event of an EUNIC-supported project held at the Goethe-Institut Bangladesh on Monday night. The EUNIC Cluster Bangladesh and EU Delegation to Bangladesh, in collaboration with HERITEiNCE DoA-BUET, Riverine People and Team Platform, organised the event to mark the conclusion of the project titled 'Sundarbans Across Borders: The Spirit of Cultural Resilience'. The event brought together project partners, artists, researchers, cultural practitioners and guests to reflect on the project’s activities and explore the cultural and ecological connections shared by communities across the Sundarbans. The programme began with a welcome note by Goethe-Institut Bangladesh Director Frank Werner, followed by an introduction to the project by Hasib Zuberi Shihan of Team Platform. Two documentary films produced by EUNIC Clusters Bangladesh and Kolkata were screened during the event, offering perspectives on the people, landscapes, cultural practices and ecological realities of the world’s largest mangrove forest. A Q&A session followed the screenings, with Mohammad Tahajibul Hossain of HERITEiNCE and Hasib Zuberi Shihan responding to questions from the audience. The discussion focused on life and livelihoods in the Sundarbans, its rich biodiversity and the complex relationship between local communities and the fragile ecosystem, highlighting both the challenges faced by residents and their resilience. As part of the closing programme, "The Hive and the Hymn", an interdisciplinary exhibition exploring the tangible and intangible cultural practices of the Moual, the honey-collecting communities living along the fringes of the Sundarbans, was also presented. The exhibition features four bodies of Patachitra scroll work, including a traditional Gazir Pat, a contemporary depiction of the honey-collection cycle, a vertical retelling of the Bonobibi myth and a co-created scroll painted by community women and children. Alongside the artworks, architectural and cultural research by BUET’s Heritage and Technology Integration Cell and Riverine People documents livelihood practices, settlement patterns, ecological adaptations and spiritual traditions of the region. Through art and research, the exhibition explores the interconnectedness of cultural heritage, livelihood, ecology and resilience, while highlighting the role of women and younger generations in preserving cultural memory and ecological knowledge. The 'Sundarbans Across Borders' project sought to deepen understanding of the intersections between culture, living heritage and climate resilience on both sides of the Bangladesh-India border. Through workshops, field studies, collaborative art production, documentary filmmaking and performances, the project brought together communities and cultural practitioners to explore the shared heritage and contemporary challenges of the Sundarbans. The initiative was co-financed under the EUNIC Cluster Fund 2024, which supports sustainable, collaborative and culturally grounded projects across the region. The closing event marked the culmination of the project while reaffirming the importance of continued cross-border dialogue and collaboration around the Sundarbans, a shared ecosystem shaped by intertwined histories, belief systems, cultural practices, artistic traditions and biodiversity. 'The Hive and the Hymn' exhibition will remain open to visitors daily from 3 pm to 9 pm through Sept 12 at the Goethe-Institut Bangladesh Auditorium, House 10, Road 9, Dhanmondi R/A, Dhaka-1205. Visitors can experience the exhibition and explore the stories, traditions, artistic expressions and ecological knowledge connecting communities of the Sundarbans across borders.  

Popular Bangladeshi actor Azmeri Haque Badhan was harassed and physically assaulted by a group of people in Venice, Italy, while visiting a local park with her brother and his family. Badhan shared a video of the incident on Facebook late Tuesday night, showing a group of people attacking the actress and throwing eggs, water and Coca-Cola during the confrontation. In the video, the attackers are heard calling Badhan a "July militant" and a "traitor" and asking her to chant "Joy Bangla, Joy Bangabandhu" while recording the incident. Badhan said her mobile phone was thrown away during the incident and she was struck near her ear. She also said her brother's wife was pushed during the confrontation. "My brother's little child was with us. They hit me, threw my phone away and struck me near my ear," Badhan said in the video. She said the attackers identified themselves as supporters of the Awami League and Chhatra League in Venice and targeted her for supporting the July-August 2024 student-led mass uprising. "I participated in the July movement. Yes, I am a July fighter," she said. Badhan also criticised those involved in the incident, saying such behaviour was unacceptable, particularly while she was representing Bangladesh at an international film festival. "I have brought a film to the Venice festival whose director Rubaiyat Hossain's father was a former Awami League minister. I am still working with her even after the July movement. You should have moved away from such irrational behaviour," she addressed the attackers. Badhan said she has already filed a written complaint with the local police in Venice seeking legal action over the incident. She is currently in Venice with her brother and his family to attend the international film festival, where Rubaiyat Hossain's 'The Difficult Bride' is being screened in the competitive Orizzonti section of the 83rd Venice International Film Festival. The film had its world premiere at Sala Darsena at 2:15 pm local time on Sept 6, marking a historic appearance for Bangladesh at the festival. Badhan, Zainin Karim, Rikita Nandini Shimu and Sunerah Binte Kamal play the four principal female characters in the film, directed by Rubaiyat Hossain. Known internationally for her performance in 'Rehana Maryam Noor', Badhan is currently representing Bangladesh at the international film festival. The incident in Venice has drawn widespread criticism on social media.  

Apple TV’s horror-comedy series “Widow’s Bay” emerged as the biggest winner at the early Emmy ceremony on Sunday, collecting eight awards for its first season, while HBO Max’s “The Pitt” secured four. The ceremony, held eight days ahead of the main Emmy awards show, also saw “DTF St. Louis” take six trophies in limited-series categories, with David Harbour and Linda Cardellini earning their first Emmy Awards. “Widow’s Bay,” starring Matthew Rhys as the mayor of a small New England town facing an ancient curse, won awards in several technical categories, including cinematography, sound, music and production design. Betty Gilpin also won best guest actress in a comedy for her performance in the series. “The Pitt,” which led this year's nominations with 25 after winning best drama for its debut season, added four awards to its tally. Among its winners was Ernest Harden Jr., 73, who won best guest actor in a drama for his portrayal of Louie Cloverfield, a troubled alcoholic who is a familiar figure in the show's emergency room. Harden, a veteran actor whose career includes a role in the 1975 film “Three Days of the Condor” and appearances on “The Jeffersons,” became a first-time Emmy winner. Andrew Bird and Gavin Brivik won for original music and lyrics for a song written for “The Pitt.” The Television Academy has rebranded the traditionally known Creative Arts Emmys as the opening two nights of the 78th Emmy Awards. The weekend ceremonies mainly recognize behind-the-scenes contributors, although guest acting categories and several other awards featuring prominent performers are also presented. Harbour won best supporting actor in a limited series for “DTF St. Louis,” while Cardellini won best supporting actress in the category. Both were first-time Emmy winners. The ceremony also featured a tribute to late actor and filmmaker Rob Reiner, who posthumously won best guest actor in a comedy for his role in “The Bear.” He received a lengthy standing ovation from the audience, including his “Bear” co-star Jamie Lee Curtis. Reiner and his wife, Michele Singer Reiner, were killed in December. Their son has pleaded not guilty to charges in connection with their deaths. Other winners included “Pluribus,” another Apple TV series from “Breaking Bad” creator Vince Gilligan, which collected four awards, and Shailene Woodley, who won her first Emmy as best guest actress in a drama for “Paradise.” “Spider-Noir,” the Nicolas Cage series canceled by Amazon Prime Video after one season, won five awards, including for visual effects and stunts. Emmy host Mariska Hargitay also received two awards for her documentary “My Mom Jayne,” about her mother, actress Jayne Mansfield. Bad Bunny won his first career Emmy for his Super Bowl halftime show, which earned seven awards at Saturday's ceremony. The weekend's ceremonies will be edited together for broadcast on FXX on Sept. 12 and streaming on Hulu the following day. The main Emmy ceremony will be held Sept. 14 at the Peacock Theater, hosted by Hargitay, and will air live on NBC and stream on Peacock. “Widow’s Bay” and “The Pitt” could each win up to six additional awards during the main ceremony.

Some stars arrive, shine brightly and disappear with time. A rare few, however, remain suspended in the memory of generations, their presence refusing to fade even decades after they are gone. In Bangladesh’s cinematic history, few such stars have left an imprint as enduring as Salman Shah, and today marks his 30th death anniversary. Born Chowdhury Mohammad Shahriar Emon on September 19 during the turbulent period of Bangladesh's Liberation War in 1971, the popular actor died on September 6, 1996, at the age of 25. In a career spanning only around four years, Salman Shah became one of the defining stars of 1990s Bangladeshi cinema. He made his debut with “Keyamat Theke Keyamat” in 1993 and went on to win audiences with films, including “Sotter Mrittu Nei”, “Shujon Shokhi”, “Ei Ghor Ei Shongshar”, “Anondo Osru” and more. His screen pairing with Shabnur became particularly popular, while his performances with other leading actresses, including Moushumi with whom he debuted in Dhallywood, Shabnaz, Lima and Shahnaz, further established him as a romantic hero. His fashion, hairstyles and effortless screen presence also turned him into a trendsetter whose influence continues to be felt in popular culture. However, alongside the enduring affection for the star, questions surrounding his death have remained for three decades. Salman Shah was found unconscious at his residence in New Eskaton on September 6, 1996, and was later declared dead at Dhaka Medical College Hospital. Subsequent investigations did not establish murder. The Criminal Investigation Department of police concluded that he had died by suicide, while the Police Bureau of Investigation reached the same conclusion in its 2020 investigation. His family, however, has consistently rejected those findings and maintained that he was murdered. The issue took a new turn in October 2025 when a Dhaka court ordered that a murder case be filed over Salman Shah’s death. A case was subsequently filed against 11 people, including his former wife Samira Haque, businessman Aziz Mohammad Bhai and actor Ashraful Haque Don. The case remains under investigation. Don was arrested in August this year in connection with the case. The investigation report has been deferred several times, with September 29 set as the latest deadline. As Salman Shah’s 30th death anniversary is observed, his legacy remains remarkably undiminished. For audiences who grew up watching him, he remains the young star captured in the frames of his films, forever at the height of his charm. Social media sites have also been flooded with tributes to the iconic actor by his ardent admirers. One of Dhallywood's biggest “what-ifs”, Salman Shah has never truly left the screen or the hearts of those who made him a legend.