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Pakistani actor Fawad Khan and Vaani Kapoor's Abir Gulaal Faces Release Setback After Pahalgam Terror Attack

The upcoming film 'Abir Gulaal,' featuring Pakistani actor Fawad Khan and Indian actress Vaani Kapoor, has encountered significant hurdles following the tragic Pahalgam terror attack on April 22, which led to the deaths of 26 individuals. In the aftermath of this incident, there have been fervent calls for a boycott of the film, prompting the removal of its songs from YouTube India. The two songs, the romantic track 'Khudaya Ishq' and the lively 'Angreji Rangrasiya,' were initially made available but have since been deleted, which many attribute to the rising animosity towards collaborations between Indian and Pakistani artists amid recent tensions. Despite the producers' plans to release a new song titled 'Tain Tain,' it has not emerged as scheduled. Observing Fawad Khan's previous statement on social media condemning the attack—where he expressed sorrow and solidarity with the victims’ families—he remains silent regarding the film's current predicament. After the attack, the Federation of Western India Cine Employees (FWICE) reaffirmed its stance against Pakistani artists, advocating for a complete withdrawal of cooperation with them in the Indian entertainment landscape. Set to debut on May 9 and directed by Aarti S. Bagdi, 'Abir Gulaal' also features notable talents such as Lisa Haydon and Riddhi Dogra. This scenario illustrates the broader implications of geopolitical complexities impacting cultural exchanges, as echoed by several Pakistani celebrities who faced backlash for extending condolences to the attack victims. These events reflect the deep-rooted tensions and the contentious nature of artistic collaborations across borders.

Bias Analysis

Bias Score:
70/100
Neutral Biased
This news has been analyzed from  15  different sources.
Bias Assessment: The bias score of 70 indicates a significant lean towards portraying the negative impacts of cross-border collaborations amid nationalistic sentiments, with a particular emphasis on the backlash against Pakistani artists. The reporting highlights the public’s reaction and the resultant censorship, primarily driven by emotional responses to recent events, potentially shaping public perception against collaboration. While the emotional context is relevant, the lack of emphasis on various perspectives could tilt understanding towards a more polarized view of the situation.

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