uring Milan Fashion Week, it was clear Dunhill was celebrating its unapologetic British roots. Creative Director Simon Holloway drew inspiration from regal wardrobes and the rock legends he considered aristocrats who carried with them a degree of irreverent glamour. The result? A collection that was as much garden party as backstage pass.
“British style is never just about the suit; it’s about how you wear it and what you wear with it,” said Holloway, citing the influences of King Charles III in his bachelor days and the eccentric elegance of Bryan Ferry (frontman for the 1970s highly successful British band Roxy Music).
The show took place in the private garden of Milan’s Museo Poldi Pezzoli, and was at once intimate and expansive. The models strode down the runway with borzois and weimaraners—the aristocratic-looking dog breeds that nodded to the British noble theme and added visual interest to the overall presentation and memorability. The fitted silhouettes were relaxed and complemented with loose layers and muted colours—creams, olives and browns—with hints of red and yellow. From tattersall check-lined coats (inspired by Tattersall’s horse market in London) to linen suits in pastel colours and silk-cotton blends that were hand-finished, the pieces from Dunhill conveyed relaxed luxury. The accessories also took cues from the casual: leather trainers, Panama hats, and the re-introduction of the classic Davies driving shoe that made the collection practical too. “It’s not about stiffness—it’s about precision with personality,” Holloway said. In a season in which fashion is all about looking forward, Dunhill reminded us that looking backward—as long as you do it with purpose and flair—can be just as edgy. – Images: Courtesy of Dunhill
Know What You Did Last Summer, slated for release later this month, is not a re-release of the same film, which caught the attention of critics and viewers (particularly teenagers) in 1997. Are you as excited as we are? The nineties generation certainly is. As fans of the original film or slasher cinema get excited for its return, here’s what we know about the upcoming film.
The title is not exactly a misnomer for several reasons. For one thing, out of the franchise, the only film that had the audience hooked was the first film. The second film was a forgettable affair. And the less said about the one-season series from Amazon, the better. This idea to make a series without the original actors was so banal that even the streaming audience couldn’t stomach it. A second season never happened.
However, after many wrongs, discussions began for a film with a new story featuring a cast comprising some of the original actors as well as newer ones.
The major original cast members from the 1997 film were actors Jennifer Love Hewitt, Sarah Michelle Gellar, Ryan Phillippe, and Freddie Prinze Jr.
When negotiations began, it seemed improbable that anyone from the 1997 film would appear in the upcoming film, given that the film was announced in early 2023, but two out of the four actors confirmed their involvement in December 2024.
According to Enterta inment Weekly, Jennifer Love Hewitt confirmed that she would reprise her role in an Instagram post. She wrote, “It’s never too late to go back. Julie James is returning. I know what you will be doing next summer!”
The other actor who also agreed to reprise his role was Freddie Prinze Jr., who first said no but eventually agreed to return for the upcoming 2025 film.
In an interview, the actor confirmed that, while his character would be playing a key role, the film will be led by younger actors.
The actor said, “Ray has a bar that he runs. It’s kind of where he’s at in his life now. He’s not the active fisherman that he thought he was going to be. He’s managing and owning a spot of his own and trying to keep it afloat.”
He continued, “I think what [director Jennifer Kaytin Robinson and I] both brought to Ray was a lot more vulnerability in this movie. When the s*** hits the fan again, so to speak, you kind of see how these characters absorbed all that trauma from the first two movies, and now they’re a sponge getting squeezed, and you get to see what comes out. And the amount of vulnerability we were able to put in there, I thought, was really honest and just organic. Nothing felt forced or fake or something that was a note from somebody that didn’t need to be given a note.”
Director Jennifer Kaytin Robinson told EW, “Their relationship is a key part of the film’s emotional arc. It’s about both Ray and Julie finding catharsis through helping the younger cast in this film. I think they both have a lot of emotional stuff that they’ve kind of put band-aids on, and those band-aids are ripped off by our younger cast, and this movie is definitely about them. Each of them has a person in the younger cast that they are connected to, and it is about them helping all five of these kids move through this.”
However, actor Sarah Michelle Gellar (wife of Freddie Prinze Jr.) was clear from the start that she would not return because she died in the first film. The director of this film did her best to get Sarah Michelle Gellar to appear in the film, but it didn’t work (because this isn’t Buffy the Vampire Slayer where she keeps dying and keeps coming back!).
“I tried, okay? I harassed her! But she is dead,” Robinson said. “I tried to pitch some crazy ideas too. I was like, ‘What if it’s like you weren’t dead and you’re actually alive, but in hiding?’ And Sarah’s like, ‘I was on ice. I was the most dead a person could be. You can see my frozen body.’ I was like, ‘Yeah, but what if?’ And she said, ‘I am dead. I am Sarah Dead Gellar.’”
I Know What You Did Last Summer will not be led by Jennifer Love Hewitt or Freddie Prinze Jr., though. A cast of younger actors will lead the film.
Madelyn Cline (Outer Banks), Chase Sui Wonders (The Studio), Jonah Hauer-King (The Little Mermaid), Tyriq Withers (Atlanta), and Sarah Pidgeon (The Wilds) will make up the ensemble cast along with veteran actor Austin Nichols (One Tree Hill, Ray Donovan). And there you have it. I Know What You Did Last Summer is being released on July 18 in Pakistan in select cinemas, so watch out!
What is it about: Lahore Arts Council joins hands with Ajoka Theatre for a theatre workshop that is suitable for both aspiring actors and budding artistes.
Rafay Rashdi is recognised for his innovative work in film and television, where he seamlessly weaves diverse narratives while keeping audiences engaged. His ability to combine substance with style has helped him carve out a distinctive space in Pakistan’s expansive media landscape.
He holds an undergraduate degree in Commerce and Information Technology from Ryerson University in Canada. A postgraduate degree in Business Systems Analysis and Design from City, University of London has further shaped his cinematic perspective. His journey in media has seen both notable successes and inevitable challenges.
In his latest directorial effort, Deemak, Rafay explores themes of trauma, mental health, and family—all under the broader umbrella of horror. Although he initially announced a project titled Yakin, production delays led him to fully commit to the genre he’s most passionate about.
A proud inductee of the International Alliance of Theatrical Stage Employees (IATSE) Local 411 of Motion Pictures and
Television in Toronto, Rafay has also contributed significantly to Canadian media—particularly through his advocacy for the Princess Margaret Cancer Research fundraising programme.
He served as producer and hospitality manager for the inaugural Pakistan International Film Festival, which featured over 50 films and attracted filmmakers from the USA, Southeast Asia, and India. He also played a key role on the managing committee for the festival’s Women’s Edition 2021. His podcast Behind The Curtain with Rafay Rashdi holds the distinction of being the first Pakistani podcast to appear on Amazon Prime Video.
Rafay’s past works include Jamun Ka Darakht (Java the Plum Tree)—an exceptional film that won 15 international festival awards and was screened at the Oscar-qualifying South Asian Tasveer Film Festival. While some projects found greater success than others, his work consistently engages with pressing social themes. Collaboration has played a central role in Rafay’s growth as a filmmaker—especially his two-year partnership with author Ayesha Muzaffar to adapt her book Jinnistan into a psychological thriller.
The resulting script probes
familial bonds—mother/son, husband/wife, and daughter-in-law/mother-in-law—while exploring societal issues like domestic abuse.
In an exclusive conversation with Instep, just before travelling to China for Deemak’s screening at the Shanghai Cooperation Organisation (SCO) Film Festival from July 3 to 7—Rafay opened up about the film’s concept and production journey.
With Deemak, he is pushing creative boundaries and achieving remarkable box office success.
Instep: What is the core concept behind Deemak, and what motivated you to set the film during the COVID-19 pandemic?
Rafay Rashdi (RR): Deemak draws inspiration from the displacement of jinn following the earthquake in Harnai, Balochistan. The idea of jinn seeking refuge in a human household fascinated me—it allowed for an exploration of possession while remaining grounded in cultural lore. To ensure relevance, I placed the narrative during the COVID-19 pandemic, which brought global mental health struggles to the forefront. It was important to depict how these invisible challenges ripple through families.
Instep: How did your collaboration with writer Ayesha Muzaffar come about?
RR: Working with Ayesha felt incredibly intuitive. I connected deeply with her book Jinnistan, and our collaboration transformed it into a story that blends intimate relationships with bro-ader societal critique.
Instep: Can you tell us about the themes explored?
RR: Certainly. The film addresses family relationships while highlighting sensitive issues like domestic abuse. We aimed to handle these subjects with authenticity and care, ensuring that the supernatural components complemented rather than overshadowed the emotional core.
Director Rafay Rashdi Takes Pakistani Horror to New Heights with Deemak
Filmmakers have a duty to respect both their message and their audience. Cinema-going can be expensive, so we must ensure that films are thought-provoking yet engaging. While festival films can embrace gravity, mainstream releases benefit from accessible storytelling.
Instep: How has the audience responded to diverse content in Pakistani cinema?
RR: Audiences in Pakistan are becoming more open to genre diversity, especially with the rise of digital platforms. They value good storytelling, but the execution must resonate with their lived realities and cultural context.
Instep: Your film has been selected for competition at the SCO Film Festival. What are your thoughts on this opportunity?
A file photo of Sabrina Carpenter performing at the Grammy Awards earlier this year
Sabrina Carpenter brought her signature sugary pop sound to a crowd of 65,000 at London’s BST Festival on Saturday night.
The 26-year-old has built a brand around sexual confidence and racy lyrics, which were noticeably toned down as the US singer embraced a more family friendly show in London’s Hyde Park.
At one point a graphic flashed up on screen advising “parental discretion” as Carpenter launched into album track Bed Chem. She ditched her usual sexually suggestive performance on song Juno and instead used a cannon to fire t-shirts into the crowd.
Despite these changes she was still at her best, storming through a 17-song tracklist that comprised her biggest hits, charming the crowd with her Hollywood smile and incredibly bouncy hair.
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Carpenter broke UK chart records in 2024 after becoming the first artist in 71 years to spend 20 weeks at the top of the singles chart
Carpenter writes music for women of the dating app generation and her songs are filled with the type of anecdotes you’ve heard over Friday night drinks with the girls – from the anger over not getting closure to the fear of a man embarrassing you when they meet all your friends.
Perhaps that is what makes her so relatable. She’s a talented singer and dancer who shot to fame on the Disney Channel, but she could also so easily be your mate who brings over ice cream when you’re going through a break-up.
Her ability to switch from a sassy upbeat dance number to a vulnerable, acoustic solo performance is also impressive.
She’s an accomplished performer for someone whose breakout hit, Espresso, is little over a year old. But much to the surprise of many, she’s been in this game for a very long time.
The Pennsylvania-born star began posting videos of herself on YouTube at the age of 10 and came third in a competition to find the next Miley Cyrus a year later.
After starring in a few small acting roles, the singer became a bona fide Disney star in 2013 when she was cast in TV series Girl Meets World.
She began releasing music the following year and has released six albums to date, but has only recently received global recognition.
Carpenter became the first female artist to hold both the number one and number two positions on the UK singles chart for three consecutive weeks in 2024 and she also became the first artist in 71 years to spend 20 weeks at the top of the charts with Espresso.
Carpenter performed the first of two sold out shows at London Hyde Park’s BST Festival
From watching her live, it appears she’s been waiting patiently for this moment for quite some time, to perform on the biggest stages around the world and to thousands of fans – something she references a few times between songs.
She told the crowd she was “so, so grateful” that the audience had chosen to spend their Saturday evening with her, gushing that “London is so fun and there’s so much to do here”.
Much of the cheekiness she has built her brand on was weaved in throughout her performance, including 1950s style infomercials advertising sprays that erase no-good men from your life and mattresses that are perfect for “activities”.
But aside from a racy rendition of Bed Chem and a snippet of Pony by Ginuine (one for the Magic Mike fans) the show was more PG than expected.
Perhaps it was due to the large volume of young children stood in the crowd amongst us Gen Zs and millennials.
Or perhaps the pop princess needs a break from making headlines.
The first was back in March, when her Brit Awards opening performance was criticised for being too racy for pre-watershed television.
Media watchdog Ofcom received more than 800 complaints, with the majority relating to Carpenter’s choreography with dancers dressed in Beefeater outfits.
Then in June this year she was once again under fire for sharing artwork for her new album, Man’s Best Friend, which showed her on her hands and knees in a short dress whilst an anonymous man in a suit grabbed her hair.
Carpenter then revealed alternative artwork she said was “approved by God” and shows her holding the arm of a suited man.
Criticism for the original artwork came from charities including Glasgow Women’s Aid which supports victims of domestic abuse. It said Carpenter’s album cover was “regressive” and “promotes an element of violence and control”.
Heather Binning of Women’s Rights Network, also told the BBC that violence against women should “never be used as satire”.
But what Saturday’s performance showed is that Carpenter is a true professional, someone who can easily adapt both her style and setlist to cater to different audiences.
She ended the show perfectly, taking to a crane that panned across the huge mass of people, thrilling fans and giving them the opportunity for a close-up video to post on their social media.
“Damn nobody showed up,” she joked, adding: “London thank you so much for having us tonight, this has to be one of the biggest shows I’ve played in my entire life.”
She wrapped up with Espresso, marking the end of the show by downing some in martini-form from a crystal glass.
There were a few mutters from the crowd, who perhaps were expecting a special guest or two, but it was clear from the offset that this would be a defining moment in the popstar’s career and one where she only wants the spotlight on her.
Scarlett Johansson, Ryan Reynolds past resurfaces amid Blake vs Justin
Scarlett Johansson and Ryan Reynolds are back in the news years after their quiet divorce, as the actor’s current wife Blake Lively deals with a legal fight with her co-star Justin Baldoni.
While Ryan and Lively are now seen as one of Hollywood’s most stable couples, some fans are revisiting his past with Johansson.
The two actors were once married, though their time together was short and mostly kept away from the spotlight.
The Jurassic World actress and the Deadpool & Wolverine actor began dating in 2007, not long after Reynolds ended his engagement to singer Alanis Morissette.
And by May 2008, the former couple were engaged and later held a private wedding ceremony in Vancouver Canada.
But the marriage did not last as work kept them away too often and that became too much to handle.
However, Scarlett was the one who ended things in 2010 and their divorce was finalised in 2011.
Years later, the actress said that she was only 23 and Ryan was 31 at the time and did not really know what marriage meant back then.
An insider revealed at that time: “They are being very civil about it. The big problem with their relationship is the distance. They spent a lot of time apart when they are working… She’s been unhappy for a while.”
Scarlett and Ryan are back in the buzz as Blake Lively sues Justin Baldoni. She claims he entered her trailer while she was topless and crossed the line during a kiss scene in their film It Ends With Us.
Justin then hit back with a lawsuit against both Blake and Ryan, claiming their team tried to ruin his name and demanded 400 million dollars in damages.
The legal fight is still far from over and for now, all eyes are on how this battle will play out.
Success is constant evolution, says actor Priyanka Chopra Jonas, a popular Hindi cinema star, who is now firmly focused on expanding her filmography in the West. In her latest Hollywood project Heads of State, Priyanka plays Noel Bisset, an MI6 agent with a past with the British Prime Minister Sam Clarke (Idris Elba). The actress said she has had a great run in India and is looking for something similar in her work in Hollywood.
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“It is constant evolution for sure. I would’ve never imagined where I am today when in 2002, I started my first movie. But I feel like I’m really nascent in my work in the West so far. I have a major filmography in my Indian work. I’ve been able to work in various genres, work with the most incredible actors and filmmakers.”
The actor has played central roles in shows and movies such as Quantico, Baywatch, Citadel, The Matrix Resurrections and Love Again. Priyanka said Heads of State, which is now streaming on Prime Video, was a fun film to do. “I want to be proud of the work that I take on. I try to take on characters that have agency and are strong and have something to do in the movies versus being ornamental.”
Both Priyanka and Cena, who has a massive fan following in India for being a WWE wrestler before turning to acting, first met each other on the set of the Ilya Naishuller-directed movie.
“I knew of John from his WWE days in India. He’s so well known in the country. It’s hard to not know him, especially when he made his transition into movies. I thought that was very interesting and his choice of parts were great. So, I was very excited to do this movie with him,” she said.
Kanye West, Sean Diddy Combs new song in the cards?
Kanye West and Sean Diddy Combs are fully expected to collaborate on a song.
The rappers, who have been cancelled by Hollywood, would be happy to well align themselves for an album in the future.
A source close to Ye tells Page Six: “Music was a salvation for him, Diddy, like it was for Ye. Diddy’s looking to make amends. I think a song would be the best way to communicate a change,” said one source who regularly works with Kanye.
“Be on the lookout for the song,” the source added
“Ye is brave enough to touch a hot [rod like] Diddy right now. I don’t think any other artists would,” they added.
This comes as Diddy’s ex, Cassie Ventura, accused the rapper of sexually assaulting her.
Ventura admitted in the sex trafficking trial that Diddy once asked her to get into an inflatable pool filled with baby oil.
Ventura revealed that although she did not want to engage in the activity, she was afraid Diddy would not agree if she refused to do so.
“Something that Sean wanted to happen, that’s what was going to happen,” Ventura said on the stand.
