Pahalgam in Kashmiri means 'valley of shepherds'. It's one of the most popular tourist spots in Srinagar, the main city of the Indian-administered Jammu and Kashmir union territory. Often referred to as 'Mini Switzerland', the hill station serves as a base camp for the Amarnath Yatra, a popular filming location for Bollywood movies, and a spot where various adventure activities, such as trekking and rafting, take place. Today, if you Google Pahalgam, none of these beautiful facts will be shown, unless you ask Google to do so.

The cowardly terrorist attack is news on every Indian citizen's tongue, and the calls to take action against them have grown ever since, leading to the suspension of the Indus Water Treaty with Pakistan, cancelling the issuance of new visas to Pakistani citizens, and ordering resident Pakistani citizens to evacuate India before April 29. Other sections that took action were sports and entertainment, the latter of which had been heavily discussed on social media.

While BCCI reiterated its ban on bilateral cricket with Pakistan after the Pahalgam attack, the Federation of Western India Cine Employees (FWICE) has once again banned Pakistani artists from working in India, especially in Bollywood. Many would think that nothing should change after the 2016 Uri attacks, but a film is now under scrutiny for casting a well-known Pakistani actor. Whether the government and courts will reinforce the ban or not is something of the foreseeable future, but the consequences of the attacks are already under scrutiny.

This article explores why banning Pakistani artists is the only way forward given the current political climate.

The Terrorist Attack

On 22 April 2025, at around 2:45 PM, Pahalgam, a picturesque town in Jammu and Kashmir, witnessed a terrorist ambush that was deadly in numbers. Some armed men, primarily Hindu males, attacked unarmed tourists, who were mainly Indian tourists, killing 26 people (25 Indian tourists and one Nepali tourist injured). The attackers, who are presumably affiliated with Pakistani-sponsored terror groups and/or offshoots of Lashkar-e-Taiba, executed the attack in the very popular tourist location of Baisaran Meadow. Not only was this an attack, but his was an announcement, again from Pakistani-sponsored terror networks, of war, ongoing, ostensibly because of the vast amount of residency permits issued to Indian citizens in Indian-administered Kashmir. Analysts have asserted that these terrorist attacks were in retaliation for the Indian government's (by Article 370) changes made in 2019. Concerns amid these terrorist attacks have been fueled by fears that the Indian government could retaliate against Pakistan.

Pakistani Talent in Bollywood

The first Pakistani actor to gain fame and lead roles in traditional Hindi films was Ali Zafar. Ali Zafar was able to connect with Indian audiences through his music and as an actor, and made his Bollywood debut, which opened doors for other Pakistani actors as well. His albums and films, such as Tere Bin Laden, Mere Brother Ki Dulhan, and Dear Zindagi, helped him gain fame and affection from Indian audiences and paved the way for many other Pakistani actors to transition into Hindi films.

Mahira Khan, one of the highest-paid Pakistani actresses, made her Bollywood film debut in "Raees" alongside Shah Rukh Khan. Due to the 2016 Uri terror attack on film's promotional schedule, she wasn't even able to take part in the promotion of her film at all because a few months beforehand, the Maharastrian political party Maharashtra Navnirman Sena (MNS) had called for a ban on the movie because Mahira Khan was involved in the project.

Fawad Khan, the Pakistani heartthrob and star of Khoobsurat, Kapoor & Sons, and Ae Dil Hai Mushkil, established a solid reputation in the Bollywood space. Still, due to the Uri attacks in 2016, Khan was banned from accepting any Indian projects until Abir Gulal.

Other Pakistani actors who have made their mark in Bollywood include Humaima Malick (Raja Natwarlal), Imran Abbas (Creature 3D), Mawra Hocane (Sanam Teri Kasam), Saba Qamar (Hindi Medium), and Sajal Aly (Mom).

History Repeated

On 18 September 2016, four Jaish-e-Mohammed terrorists from Pakistan attacked an Indian Army brigade headquarters located near the town of Uri, in the Indian state of Jammu and Kashmir. In total, 19 Indian soldiers died in the attack, and 19–30 were injured. BBC reported it as the deadliest attack on security forces in Kashmir for two decades.

Following this incident, BCCI India’s cricket governing body then ruled out resurrecting bilateral ties with Pakistan cricket at any level due to border tensions. This included requesting that the ICC separate the Indian and Pakistani cricket teams in any international cricket tournaments. In a show of support for the government's diplomatic actions against Pakistan, the Badminton Association of India boycotted the Pakistan International Series in Islamabad in October.

After the Uri attack, the Indian Motion Picture Producers Association (IMPPA) instituted a prohibition on the participation of Pakistani actors, actresses and technicians in India until the situation calmed down. Actors and actresses were divided, with some instituting a boycott of these professionals, while others were less convinced of its efficacy. The Zindagi TV channel, which aired all Pakistani shows, also announced that it would cease airing Pakistani shows, starting in late September. In October, Pakistan's administration announced a ban on all Indian television and radio entertainment programming.

Karan Johar's film, Ae Dil Hai Mushkil, was met with enormous opposition from the Maharashtra Navnirman Sena (MNS) following nationwide protests across the country after the terrorist attack in Jammu and Kashmir on September 18, 2016, wherein the MNS threatened theater owners across the country to vandalise film theatres, due to the involvement of the Pakistani actor Fawad Khan in the film, which developed into a full-on boycott (of the film) in four states: Maharashtra, Gujarat, Karnataka, and Goa.

In response to the uproar surrounding the release of his film, Johar put out a video saying that the conditions in which the movie was made in 2015 were entirely different. He added that under the circumstances, he’d never work with actors from the neighbouring country. News and social media widely attacked him for giving in to all the pressure. Still, Johar and his film received support from several members of the film fraternity, like Mukesh Bhatt and Shyam Benegal, who requested that people not give significance to the nationality of the actors and instead consider the film and its release.

The film was Fawad Khan's last Bollywood release to date. Many people were scared to cast Pakistani actors until Gauri Shinde's Dear Zindagi was released in 2016, which starred Ali Zafar, although the film was shot before the Uri attacks. Another example is Ravi Udyawar's 2018 crime thriller film 'Mom', which was Sridevi's last major film before her untimely death just before the film's release. Pakistani actress Sajal Ali played Sridevi's daughter, and Adnan Siddiqui played Sridevi's husband. Still, neither was present for any of the film's promotional or attention-grabbing interviews, citing the cold relations between the neighbouring countries.

Supreme Court's Dismissal of Ban on Pakistani Artists from Working in India

In November 2023, the Supreme Court dismissed a petition requesting a ban on Pakistani artists and also advised the petitioner not to be so myopic. The petitioner, Faaiz Anwar Qureshi, is a film worker in the artistic sector who appealed to the Supreme Court after the Bombay High Court dismissed his petition. Mr. Qureshi led petitions to ban all Indian citizens, companies and associations with Pakistani artists, including actors, singers, musicians, lyricists and technicians.

After the Pulwama attack, the Maharashtra Navnirman Sena’s cinema wing had warned filmmakers against interacting with Pakistani artists. The bench found no merit in the petition and labelled it a retrograde action that would disengage cultural harmony, unity, and peace.

The court had also stated that resolutions of private, non-statutory associations cannot have the force of orders from a judicial authority as requested by the petitioner.

How does it affect Bollywood?

The Federation of Western India Cine Employees (FWICE) has taken a strong stance on Pakistani artists being employed by Bollywood. “We reiterate our directive, originally issued on February 18, 2019, calling for complete non-cooperation with all Pakistani artists, singers, and technicians within the Indian film and entertainment industry. Despite this ongoing directive, we have been made aware of Fawad Khan's recent collaboration on the Hindi film Abir Gullal. In light of the recent attack in Pahalgam, FWICE is once again compelled to issue a blanket boycott on all Pakistani artists, singers, and technicians participating in any Indian film or entertainment projects. This includes performances or collaborations occurring anywhere in the world," FWICE President BN Tiwari said, adding that Abir Gulaal would not be allowed to be released.

Given the sensitive atmosphere, along with the film's songs being removed from YouTube in India, it's not surprising that the release of 'Abir Gulal' has been put on hold in the country. The intersection between art and society is complicated, particularly in light of recent tragedies. There is a grieving nation for the lives lost during the Pahalgam attack. At the same time, the outrage surrounding Fawad Khan's role in the film reveals a greater division in society concerning art, empathy, and national sentiment.

Abir Gulal was supposed to mark Fawad Khan's long-anticipated return to Bollywood after years of strained relations between India and Pakistan, which had led to the banning of Pakistani artists. Although there had been recent signs of improving ties, this tragic event has set everything back and influenced when and how the film was released.

Kanu Chauhan, producer of Suniel Shetty's upcoming film Kesari Veer: Legends of Somnath, starring Sooraj Pancholi, Vivek Oberoi, and Akanksha Sharma, will not release the movie in Pakistan due to the recent militant attack on Indian soil by Pakistani militants. Kanu Chauhan instructed his overseas distributor to cancel the film's release in Pakistan. Kanu said, "We condemn the attacks and taking a moral stand for the victims, we felt releasing 'Kesari Veer' in Pakistan was not an option."

As a result of the recent terror attack in Pahalgam in Jammu and Kashmir, singer Shreya Ghoshal cancelled her concert. Ghoshal was scheduled to perform at Surat on Saturday, as part of her "All Hearts Tour".

Even Arijit Singh cancelled his concert in Chennai, which was scheduled for Sunday. Among others, rapper AP Dhillon also deferred the release of their upcoming music album. Singer Papon has cancelled his Ahmedabad show, which was also scheduled for Saturday. Additionally, music composer and singer Anirudh Ravichander suspended the sale of tickets for an upcoming concert in Bengaluru on June 1.

The Fate of Abir Gulal

On October 7 2024, the 'Abir Gulaal' movie starring Fawad Khan and Vaani Kapoor released its first poster. The film, directed by Aarti S. Bagdi, was shot in the UK over October and November 2024. On April 1, 2025, its poster and teaser were released. The teaser shows Fawad and Vaani in a car singing a simple rendition of 'Kuch Na Kaho' and then engaging in playful flirting. A romantic comedy set in London, it was supposed to release in theatres on May 9, 2025.

The movie is now under considerable scrutiny in light of the tragic incident involving the terrorist attack at Pahalgam on April 22. Following the incident, the Federation of Western India Cine Employees (FWICE) called for a blanket ban on its release in India and called for stringent policies of non-cooperation with Pakistani talent in the Indian entertainment industry. The Ministry of Information and Broadcasting sided with the FWICE plans, resulting in the film's release being banned in India.

The Maharashtra Navnirman Sena (MNS) and the Shiv Sena (Shinde) are also opposing the release of the film, particularly in Maharashtra, because of a Pakistani actor's role in the movie, which is unacceptable to their local agendas. In the meantime, the music video for Abir Gulaal was removed from its YouTube channel as part of this backlash. One of the film's stars, Ridhi Dogra, who stars alongside Khan in the movie, defended her choice to work with Khan, noting that she had thoroughly checked on legal copyright issues beforehand. She added that "art has no market or boundaries."

To see Fawad Khan’s face in our cinemas, while grieving mothers and fathers bury their children, would not simply be distasteful — it would be a travesty. The government’s decision to stop the film' Abir Gulal' from being released shows a clarity of purpose: national honour is not negotiable.

While there have been defences against the calls to ban the film, it remains unclear if the film will go ahead; the May 9 release is now in peril, with celebrations, grievances and calls for a boycott.

Nationalism vs Hatred

Standing up to Pakistani people isn’t hate — it’s self-respect. It’s a statement that we appreciate the blood of our soldiers more than a box office or a streaming count. When blood is still fresh, wounds are still open, and families are still grieving, there can be no exchange of culture. We cannot allow glamour and monetary interests to close our eyes to the unquestionable fact: there is still an enemy state called Pakistan. Some people say that art knows no borders. But can art be above bloodshed? Can music heal when bombs go off? Can cinema entertain when coffins with tricolours come home?

In light of the tragic terrorist attack in Pahalgam, it is time to ask a fundamental question, and ask it loudly, unapologetically: what is greater — your entertainment or your country? If observing Pakistani artists, listening to Coke Studio songs, or streaming PK dramas is essential to your sense of culture and leisure, then perhaps as a nation, we need to reflect long and hard. How are we able to consume, consume and consume love; the 'art' from a country which is bleeding our people systematically after burying innocent tourists? Is a playlist that important to you that it matters over the 26 lives lost in Pahalgam? Is the feel-good, listen to this number from Coke Studio, worth more than the blood-stained soil of Kashmir? The argument made by certain Indians is that "there should be no borders to art" - however, the nation creating this 'art' sends death squads across lines of control without a moment's thought. Can we have music when we are mourning? Can we applaud during funerals?

Why is it that when a Pakistani cricketer is banned from playing in the IPL, nobody cares? Because very few watch them, and no money is spent. But when a Pakistani singer's video is taken down, or a film featuring a Pakistani actor is delayed, suddenly a section of Indians are screaming about "freedom of art" and "the free market" and "love beyond borders"? Why this selective morality? Why this selective outrage? If banning IPL players from Pakistan is NBD because "no one cares", then why does that principle not apply if a Pakistani actor or singer has a following? Should we only identify our sense of honour by TRP ratings or streaming counts? Do we only care about our country when it is easy? So does patriotism require sacrifice — even if it's as small as giving up a song, a movie, or a cricket match?

It is sickening that the same vapid justifications come back every single time, after every act of tragedy and violence. The call to boycott Pakistani actors from Bollywood after the Uri attack in 2016, when our soldiers were martyred, was met with severe backlash from the "liberal" intelligentsia, who argued: "Artists are ambassadors of peace." "Cinema is beyond politics." "Culture must not be held ransom for the issues of violent conflict." Now, seven years later, we are back to entertaining yet another brutal massacre, a new round of tears, and again, we will see the same definitions of normalcy that support the flow of Pakistani entertainment into Indian markets. How many Pahalgams will happen before we wake up to the fact that art, culture, music, cricket — all of this has the blood of geopolitics? How many caskets draped in Tricolours must we see before Bollywood realises that nationalism is not an emotion on a hashtag on Independence Day, but a living, breathing responsibility that requires restraint and action?

People who argue that watching a Pakistani drama show, or listening to a Pakistani singer is harmless fundamentally do not recognise a simple truth: Every view, every like, every ticket, every stream, is money, influence, and further validation for the enemy state; that helps to promote the cultural soft power of the state that has sponsored terrorism on our soil, which is not something we need to be funding. Every rupee of theirs is a knife buried in the wounds of grieving Indian families. Watching a Pakistani serial after the Pahalgam incident is not an act of cultural sophistication; it is nothing less than a moral decay. It serves as a marker that, in some ways, personal enjoyment matters more than national grief. And those who claim "there are good people in Pakistan" fail to realise the "good" ones are too few, too powerless or too complicit to stop the slaughter - and we, in our comfortable cities, dare to consume their entertainment exports as if the blood of our citizens is just a nuisance.

Where is the outrage against those filmmakers who, even today, shamelessly advocate for the casting of Pakistani actors under the guise of "creative freedom"? Where are the brave voices in Bollywood who will stand up and say, "No, we choose to stand with India"? Instead, they hide behind clichéd statements while repeatedly seeking cross-border celebrity and profit. When a terror attack happens, they want us to unite as "artists." Still, once rival bodies are buried, they quickly go back to shooting love stories where Pakistani faces devote their full passion to securing the kidnapping of the nation that allows them to pursue their dreams of success. So, is it any wonder that our enemies laugh at us and think how easily distracted, splintered, and compromised we become over a bit of entertainment?

In the end, the question is simple yet profound: Is your momentary entertainment more important to you than the everlasting sacrifice of our soldiers, our martyrs, our innocent civilians? Is it really too much to ask that we, as Indian citizens, draw a bright line — that beyond Pahalgam, there is no room in our hearts, in our homes and lives, on our screens or in our playlists, for anything and anyone associated with Pakistan? Even if we are not prepared to boycott a song or to skip a drama to remember those that died, then what are we, patriots or slaves to our comfort?

Until every Indian asks these questions - and then answers them honestly - we are at risk not only to bullets and bombs, but also to the slow death of our national soul.

Regional Politics to Distract from Accountability?

Although the outrage against Pakistan is warranted, we should not avoid difficult questions about our leadership. The day after the Pahalgam massacre, sections of the government's political supporters unleashed a torrent of hatred. They accused India's Muslim citizens of being no different from the enemy across the border. However, we find ourselves with this communal diversion laid on far too conveniently. Meanwhile, glaring questions remain unanswered about the failure of the regional security architecture.

Pahalgam is one of the most secure tourist destinations in Jammu and Kashmir, especially during sensitive times. How, then, did heavily armed terrorists breach such a critical bubble and carry out such a horrendous act of violence with impunity? In retrospect, why have the intelligence alerts we are now hearing about been completely disregarded or diluted? Was there a lack of collaboration between the local police, CRPF, and military intelligence units?

Not only have we failed to address these crucial lapses in security responsibility, but we are now actively shifting the national discourse toward a form of communal hatred—an opportunistic way to channel anger and avoid accountability. A mature democracy should recognise that you cannot mask internal administrative failures by fomenting hatred against external enemies or pitting communities against each other. Justice for the deceased involves not only punishing Pakistan, but also honestly confronting the protectors who did not protect.

Nationalism cannot entail uninformed loyalty; it must also mean asking difficult questions when Indian blood is spilt on Indian soil by terrorists.

The Takeaway

An iconic song from Coke Studio 14, "Pasoori" - sung by Ali Sethi and Shae Gill - has become the first song from Coke Studio to surpass 1 billion streams on YouTube Music. The song, which was released in February 2022, garnered instant fame, even in India. The song was celebrated for breaking the barriers. Still, today, every rupee that Indian audiences choose to spend on a Pakistani product, artist, or service is a slap in the face of our martyrs and denies the blood of their sons who died for our soil. Music is often hailed as a unifier, but when blood is yet to dry on the ground, there cannot be music over the cries of the dead.

The state apparatus of Pakistan is intimately linked with the people it exports as artists — many singers, actors and filmmakers have direct links with state institutions that promote, support, and facilitate state terrorism — it is disengaging to the point of vacuousness to indulge Pakistani artists, post Pahalgam, is akin to dancing on the graves of our martyrs.

The Pahalgam massacre should be our final call to wake up. No more half measures. No more 'peace attempts' on cricket fields, concert stages or cinema screens. Fawad Khan, Mahira Khan, Rahat Fateh Ali Khan, Atif Aslam - they are all envoys of a nation engaged in the act of terror against us. Having sung the songs of love, the weaponry on the other side sings of death.

Art and culture may be influential, but they do not exist in a moral vacuum. When the soil of Pahalgam remains dampened from the blood of innocent Indians, there can be no talking of music, cinema or sport with emissaries from an aggressor. We should always choose loyalty to our country, to our martyrs, and our shared conscience.