From commanding television screens in powerful dramas to headlining box office hits, the acclaimed actor and producer has built a formidable reputation through instinct, charm, and a commitment to relatable storytelling. Along the way, he has picked up numerous awards, loyal audiences across the globe, and even crossed into international territory with his nuanced portrayal of Dr Hasnat Khan – Princess Diana’s real-life love interest – in the globally acclaimed Netflix series The Crown.
Now, Saeed returns to the big screen with this week’s Eid al-Adha release Love Guru. The romantic comedy, opposite Mahira Khan, features him as a matchmaker-turned-marriage-saboteur on a surprisingly unorthodox mission of love. Extensively shot in the UK and laced with a contemporary sensibility, the Nadeem Baig-directed comedy marks a distinct tonal shift for an actor best known for culturally rooted blockbusters.
Calm and composed during his recent London visit to promote the film, the massively popular star sat down with Eastern Eye to reflect on his celebrated journey, the making of Love Guru, reuniting with Mahira Khan, and the secret to his high success rate.
Humayun Saeed and Mahira Khangetty images
How do you reflect on your distinguished three-decade career? (Smiles) That is a tricky question. I do not have a short answer, Asjad. I have been fortunate to work across diverse genres in both film and television, as an actor and producer. I have been part of successful projects I believe in. Now, I feel ready to take on something really big – like an international production that the whole world will watch.
You have a high success rate. How do you choose your projects? I have always gone with my gut whenever possible, and it has served me well. I am instinctive and often have a sense of how an idea will take shape. I am drawn to stories that are emotionally relatable. For example, when I received the script for Mere Paas Tum Ho, I had a strong belief that it would resonate with audiences. It was emotional and grounded – that is essential for a television drama.
As a sought-after star and successful producer, what other key elements do you look for in a project? The story must be backed by strong writing, a talented cast, and a capable director. I consider all those factors. I always begin a project with the aim that it will succeed and connect with viewers. But at the heart of it, there must be a relatable story. Each character should serve a purpose – not just the lead.
Tell us more about that. You often see projects where some characters feel unnecessary – I do not believe in that. In strong dramas, every character, including those in smaller roles, must matter. If the idea is good, the story is relatable, and the cast is strong, the project will work.
Your drama serials are especially known for strong writing. Yes, that is very important. Writing comes first – the performances follow. Mere Paas Tum Ho was a massive success largely because of the powerful dialogues.
What attracted you to your new film Love Guru? Television dramas are usually serious, so I enjoy delivering fun, entertaining films for cinema audiences. I have noticed that the more entertaining a Pakistani film is, the better it performs. Love Guru is a fun, contemporary film.
This film is different from your usual work. Were you encouraged by the trailer’s positive response? Audiences enjoy my culture-specific films like London Nahi Jaunga and Punjab Nahi Jaungi, but this time I deliberately chose a contemporary romantic comedy. The trailer response gave me a lot of confidence. People said the visuals looked fresh and the cast looked great. The music and locations were also well received. It is very different from my earlier films, and I am hopeful audiences will turn out for it.
Love Gurugetty images
Tell us a little about the film. The trailer captures the essence. I play a love guru who helps people find love and get married – until he is tasked with breaking up the forthcoming wedding of the character played by Mahira (Khan). What happens next, you will have to see in the film.
What is Mahira Khan like as a co-star? She is very good and easy to work with. We have been friends and colleagues for a long time, and this is our third project together. That comfort level is there. She knows her craft, works hard, and never throws tantrums – which can happen with some co-stars. Mahira remains focused and professional, and that makes the entire process more enjoyable.
You have formed a dream team with Love Guru director Nadeem Baig, with all your films together doing well. What makes him stand out? He is a gifted storyteller and supported by a great team. We have strong mutual understanding – if I do not like something, he listens, and vice versa. I also share a strong rapport with the writer, so we have a solid creative team. Nadeem does not rely on flashy camera work for the sake of it – he focuses on content, making sure everything shown on screen feels real.
Could you elaborate on that approach? Even when a scene is far-fetched, he presents it in a believable way. In some comedies, things can become mindless – but with Nadeem, it still makes sense. That is his strength – presenting things in a way that feels like they could actually happen, which makes it more relatable.
What was it like shooting this film in the UK? (Laughs) Very expensive. Thankfully, many of our friends in the UK helped us. We had a brilliant production team who worked hard and kept us on schedule. Sometimes we travelled up to three hours for a shoot, but we always managed. The weather was a challenge – it was cold and raining – but it turned out well. We filmed in October and captured the beauty of autumn. The film has some stunning visuals.
How do you view the progress of Pakistani cinema in recent years? It was strong from 2015 to 2019. Then, it slowed down due to Covid. Films like London Nahi Jaunga and The Legend of Maula Jatt showed the potential of Pakistani cinema. If people like a film, they will come to the cinema. Streaming is great, but nothing compares to watching a film with 200–300 people on the big screen. Cinema still has that larger-than-life magic.
What was your experience like working on The Crown? I loved the entire experience. It was a completely different world. I have never seen such professionalism before. It was enriching, both as an actor and a producer. An interesting part was working on two separate episodes, each directed by different people. Season five had five directors, each handling two episodes. Each director focused only on their specific episodes, so it was fascinating to work on one role with two distinct directing styles.
SS Rajamouli isn’t holding back with SSMB29, his latest big-screen spectacle starring Mahesh Babu, Priyanka Chopra Jonas, and Prithviraj Sukumaran. The filmmaker, known for his visual scale and attention to detail, has recreated the holy city of Varanasi in Hyderabad’s Ramoji Film City instead of shooting on location. The reason? The chaotic logistics of filming in the spiritual capital of India.
The set, rumoured to cost £4.8 million (₹50 crore), is a massive replica built specifically for a key sequence in the film. Leaked photos from the set have already gone viral online, giving fans a glimpse of the scale Rajamouli is aiming for. Mahesh Babu will be filming an action sequence here, with VFX work enhancing the visuals. In true Rajamouli style, international graphics studios, some of the best from Hollywood, have been roped in to bring the visuals to life.
SS Rajamouli builds Varanasi set in Hyderabad for SSMB29 shootGetty Images
Kenya schedule to kick off in July with action-packed jungle scenes
After wrapping up earlier schedules in Odisha and Andhra Pradesh, the SSMB29 team is now gearing up for its first international leg in Kenya. Originally planned for March, the schedule was delayed due to extreme heat in the region. Now rescheduled for July, the shoot will take place in some of East Africa’s most scenic locations, including Kenya’s Masai Mara, Tsavo, and Amboseli national parks.
This phase will see Mahesh Babu and Priyanka Chopra Jonas dive into adrenaline-heavy sequences set deep in the African wilderness. The story reportedly involves Mahesh’s character searching for a rare herbal remedy, adding a mythical twist to the film.
Mahesh Babu, Priyanka Chopra Jonas and Prithviraj Sukumaran joins SSMB29Getty Images
For Priyanka, this film will mark her major comeback to Indian cinema after a six-year gap since The Sky Is Pink (2019). Her return in a Rajamouli project has fans across continents eager to see her back on the big screen.
A global vision with roots in mythology
While the team hasn’t confirmed the plot officially, reports suggest that the film is inspired by Ramayana-esque themes, with Mahesh Babu’s character on a spiritual and physical quest. The combination of Indian mythology, jungle survival, and stunning visual effects makes SSMB29 one of the most awaited Indian films currently in production.
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Jason Isaacs confirms equal pay for all actors in The White Lotus
Jason Isaacs has revealed that every cast member of The White Lotus Season 3, regardless of experience or fame, earned the same salary: £32,000 (₹33,60,000) per episode. That totals around £256,000 (₹2,68,80,000) for the full eight-episode run. While that figure might seem significant, Isaacs called it “a very low price” for a hit HBO show, but said he had no complaints.
“We would’ve paid to be in it,” Isaacs said in an interview, adding, “We probably would’ve given a body part.”
Jason Isaacs opens up about financial regrets and career lowsGetty Images
Equal pay, no ego
The show’s ensemble approach meant that veterans like Isaacs and Parker Posey received the same as newer faces such as Patrick Schwarzenegger and Sam Nivola. Asked if it bothered him to be paid the same as his younger co-stars, Isaacs shrugged it off: “I never work for money. I’ve done alright. People assume I have piles of cash, but I’ve basically matched my spending to my income and spent everything over the years.”
The pay structure, introduced from Season 1, was meant to ensure fairness and avoid ego clashes. “Everyone is treated the same,” said producer David Bernad in an earlier interview, explaining how the alphabetical billing and equal salaries were key to creating a drama-free, committed cast.
The White Lotus cast shares the screen and the paycheck equallyGetty Images
Isaacs admitted that while the rate was lower than typical network or streaming pay outs, the prestige of working on The White Lotus and with creator Mike White made it worthwhile.
Cautionary tales and career lows
Isaacs also took the opportunity to share hard-earned lessons with his younger co-stars, urging them not to get emotionally attached to the final product. “You don’t control how it’s received. That’s Mike’s job,” he said. Reflecting on his own past, he pointed to Peter Pan (2003), where he played Captain Hook, a big-budget project that tanked commercially and nearly derailed his career.
“It was the lowest I’ve ever felt professionally. I thought I’d never work again,” he confessed. Isaacs said it was his partner Emma Hewitt who helped him through that dark phase, crediting her support over their decades-long relationship.
Jason Isaacs says Emma Hewitt helped him through his dark phase in lifeGetty Images
The White Lotus Season 3 is now streaming on Max, and while the actors may not have earned big bucks, the series continues to score big on screen, with critics and fans alike.
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Scarlett Johansson kisses Jonathan Bailey and dazzles in couture at Jurassic World Rebirth premiere
Scarlett Johansson returned to the spotlight in a dazzling pink gown at the world premiere of Jurassic World Rebirth, held at the Odeon Luxe Leicester Square in London. The event wasn’t just a celebration of the film’s release but also a major red carpet moment for the 39-year-old actress, who has been out of the public eye in recent months.
Wearing a custom Vivienne Westwood corset gown with sequins, Johansson lit up the green carpet with elegance and glamour. Her blush-toned dress featured a sculpted silhouette and soft draping that recalled golden-age Hollywood style, minus the fuss. The styling, handled by her long-time collaborator Kate Young, kept things minimal yet classy, letting the dress do all the talking.
Scarlett Johansson stuns in Vivienne Westwood gown at Jurassic World Rebirth London premiereGetty Images
All eyes on Scarlett, not the dinosaurs
Johansson’s outfit was a standout, softly shimmering, vintage-inspired, and unmistakably hers. The gown’s romantic structure paired beautifully with her classic Hollywood waves, styled by Renato Campora, and glowy makeup by Hung Vanngo, featuring soft pink tones and bold brows.
The green carpet itself mirrored the film’s jungle setting, with faux foliage and warning signs nodding to the franchise’s roots. Yet despite the dramatic décor and loud dinosaur displays, all attention shifted to Johansson’s presence and her surprise red carpet moment with co-star Jonathan Bailey.
Scarlett and Jonathan Bailey share a friendly kiss that gets fans buzzing on social mediaGetty Images
Fans went into a frenzy after the actress greeted Bailey with a quick, friendly kiss on the lips, sparking a flood of reactions online. The moment, caught on video, added a spark to an already buzzworthy evening. Bailey, dressed in a relaxed 1990s-inspired look with a cap and sunglasses, looked just as thrilled to reunite with his co-star.
A major comeback with a mega-franchise
Jurassic World Rebirth is Johansson’s first big-budget outing since stepping away from Marvel. She plays Zora Bennett, a covert operative sent on a high-stakes mission involving dinosaur DNA. She stars alongside Jonathan Bailey, Mahershala Ali, and Rupert Friend in this next chapter of the billion-pound (₹10,000 crore) franchise, directed by Gareth Edwards.
With the film expected to open strong, tracking at around £95 million (₹1,000 crore) globally, it’s a big summer bet for Universal. And for Scarlett Johansson, star power has never been in question, no theme costume required. Just a killer dress, a bold kiss, and a dash of old-school charm.
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James Cameron’s The Abyss pulled from Disney Plus UK after decades-old controversy resurfaces
Nearly four decades after its release, James Cameron’s 1989 sci-fi thriller The Abyss has sparked controversy again, this time on streaming. Disney+ quietly pulled the newly uploaded 4K remaster of the film from its UK platform after complaints resurfaced about a banned scene involving live animal testing.
The specific scene, showing a rat being submerged in oxygenated liquid, has long been a point of contention in the UK. Though the rat reportedly survived the experiment during filming, the British Board of Film Classification (BBFC) had previously ruled it in breach of the Cinematograph Films (Animals) Act 1937. As a result, the sequence was cut from all UK theatrical, television, DVD, and Blu-ray releases. Yet, when Disney+ added the remastered version in April, the uncut version slipped through, triggering backlash from animal welfare groups.
RSPCA flags “loophole” as Disney+ removes unedited version
The Royal Society for the Prevention of Cruelty to Animals (RSPCA), which had campaigned for the scene’s removal since the 1980s, raised fresh concerns when the unedited version began streaming. David Bowles, Head of Public Affairs at the charity, stressed this wasn’t about censorship but consistency.
“We're not calling for the film to be banned,” Bowles clarified. “We’d fully support Disney+ reinstating it, just without the disturbing rat scene. This is about closing a loophole that lets animal abuse scenes bypass the same restrictions applied to TV, DVD, and cinema.”
While UK content is regulated under BBFC guidelines, streaming platforms often fall outside traditional classifications. This regulatory gap allowed the uncut version of The Abyss to appear online, unnoticed until viewers flagged it. The scene reportedly used five rats, all of whom survived, but their visible distress on-screen led to public discomfort and long-standing restrictions.
Future availability unclear, but alternative platforms exist
Disney+ has yet to confirm whether an edited version of The Abyss will return to its UK library. For now, viewers can still find the film on digital platforms such as Amazon Prime Video and Apple TV, albeit without the controversial scene. The cinematic version was also available briefly on ITVX but has since been taken down.
The Abyss pulled from UK streaming after animal welfare complaints reach DisneyIMDB
Starring Ed Harris, Mary Elizabeth Mastrantonio, and Michael Biehn, The Abyss remains a cult favourite for its iconic underwater visuals and suspense-driven plot. But its legacy now includes a sharp reminder that even classics must face new scrutiny in the age of streaming.
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Mo Chara is being represented by a prominent legal team
Irish rapper Mo Chara, a member of Belfast-based hip hop group Kneecap, appeared at Westminster Magistrates’ Court on Tuesday, 17 June 2025, after being charged under the UK’s Terrorism Act 2000. The charge stems from an incident in November 2023, when Mo Chara, whose real name is Liam Óg Ó hAnnaidh, allegedly displayed a flag associated with Hezbollah during a performance at the O2 Forum in Kentish Town, London.
Hezbollah is a proscribed organisation under UK law. Under Section 13 of the Terrorism Act, it is an offence to wear, carry or display any article in such a way or in circumstances that may arouse reasonable suspicion of support for a banned group. The offence is punishable by up to six months in prison, a fine, or both.
The case is being heard by a district judge without a jury. As a strict liability offence, prosecutors do not need to prove intent — only that a “reasonable person” could interpret the action as supportive of a proscribed group.
Kneecap launches billboard campaign in London
Ahead of the court date, Kneecap launched a high-visibility protest campaign in London. The band erected large billboards denouncing the charge as a “witch-hunt” and accused the UK authorities of targeting them for their political views.
Kneecap has become internationally known for its outspoken positions on issues such as Irish identity, the Irish language, and most recently, the ongoing conflict in Gaza. The band has framed the prosecution as part of a wider effort to suppress political expression.
Protests outside court draw support from advocacy groups
Supporters of Kneecap and Mo Chara gathered outside Westminster Magistrates’ Court on the morning of 17 June, in a protest promoted by the band and organised by several UK- and Ireland-based advocacy groups.
The Stop the War Coalition, one of the organisers, stated: “The ‘carnival of distraction’ around Kneecap keeps on travelling while Israel pursues its starvation policy in Gaza and the UK government continues to sell it arms.”
This is not Kneecap’s first legal encounter in the UKAlamy
Another group, Irish in London for Palestine, said: “The UK government is calling Liam Óg Ó hAnnaidh from Kneecap a terrorist for daring to speak truth to power, for standing with Palestine and refusing to be silenced. This isn’t just about one artist or one group — it’s about our right to protest, our right to speak, and our duty to stand against injustice.”
High-profile legal team mounts defence
Mo Chara is being represented by a prominent legal team with a track record in major human rights and protest-related cases. The defence includes Darragh Mackin of Phoenix Law, Brenda Campbell KC, Gareth Peirce (noted for representing Julian Assange and the Guildford Four), Rosalind Comyn (who has defended climate activists), and Blinne Ní Ghrálaigh KC, who represented South Africa in its genocide case against Israel.
Speaking before the hearing, Mackin said: “It is difficult to comprehend a case of greater international importance in recent years. It is a great privilege to be instructed alongside my colleagues to defend the important principle of freedom of expression, in the pending battle before the London court.”
Previous court win for Kneecap
This is not Kneecap’s first legal encounter in the UK. In November 2023, the band successfully challenged a decision by then-business secretary Kemi Badenoch to deny them a £14,250 funding grant. The UK government later conceded the refusal was unlawful and discriminatory on the basis of nationality and political opinion.