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SPOTLIGHT: BETTING ON EID YET AGAIN
Talking about Pakistani movies as Eid nears has now become an annual tradition one must revisit, whether one likes it or not. With the way things are, this tradition isn’t likely to change for at least a decade or so, especially if you take into account that even this year, three heavy-hitters — Aag Lagay Basti Mein (ALBM), Bullah and Delhi Gate — are set to hit cinemas on Eidul Fitr.
The first is set to redefine and upgrade an old genre. The second is a straggler, which has much to prove. And the third’s success could help raise the bar for Eidul Fitr and consequently reinforce Pakistani filmmakers’ belief that only one of the two Eids can save the country’s film industry.
When Icon last carried a story on Eid releases, almost around this time last year, it was, for the most part, chaos as usual. Fifteen films — a stupefying number — opened across 96 screens; the rush highlighted the nervous, panicked state of mind of the film industry. Surely, many thought at the time, one of them would work.
Five Pakistani films — The Martial Artist, Kabeer, Ishq-i-Lahore, Qulfee and Lambi Judaai — fought off a slew of Hollywood titles (including Snow White and A Minecraft Movie), as well as Indonesian horror releases (a very popular alternative), not to mention Indo-Punjabi fare — like Carry On Jatta 3 — that become eligible for cinematic release throughout Pakistan.
With producers reluctant to release major titles on other feasible dates during the year, the Eid load often leads to skirmishes. Distributors pressure cinema owners for more primetime show slots, although both parties know all too well that less-than-stellar titles will slip off the marquee by the third day of Eid.
By then, the damage is already done. Wallets have been emptied, cinema owners lament not showing more of the films that audiences gravitated towards, and distributors of Indo-Punjabi films — Wali Films and Distribution Club — justifiably regret missing out on opportunities to do great business.
Film production may be down worldwide but the situation is downright critical in Pakistan. With the Pakistani under-production slate nearly exhausted, it seems the two Eids will continue to be every filmmaker’s only safe spot to release their films
Last year, Eidul Fitr didn’t have a great turnout, with all Pakistani films flopping disastrously. The year before had just one hit: Daghabaaz Dil, which grossed nearly 11 crore rupees domestically and went on to become the highest-grossing film of 2024.
Historically, the bigger hits are always released on Eidul Azha, perhaps because Ramazan doesn’t allow for strong marketing campaigns. Just last year, Deemak did around 18 crore rupees in business, while Love Guru grossed over 60 crore rupees; apparently, three-quarters of the latter’s business came from local cinemas, and both films were Eidul Azha releases.
The Big Three On Eidul Fitr
However, this year, the ‘Eid of big financial returns’ will arrive early, thanks largely to ALBM, the high-octane, high-stakes crime drama starring Fahad Mustafa and Mahira Khan.
With nearly 45 days to go, at the time of writing, ALBM, an ARY Films release, is already deep into its promotional campaign, with its teaser trailer running non-stop on ARY’s channels since January 3. In comparison, Love Guru only had 33 days for its entire campaign.
In an era of fleeting attention spans, a blitz of teasers and trailers is the way to go. It is an old practice, one that helped grow Bollywood internationally. In the early days of satellite television, trailers used to run for months, ad nauseam. In most parts of the world, the unending barrage still exists, especially if the distributor has a network sibling (eg Disney and its channels).
It is my estimation that this caper film, about the less-than-fortunate who dream of going to ‘Doobai’ by robbing the nasty rich, will bag 50 crore rupees domestically at the very least.
ALBM has a clear 65-day run with few competing releases before Eidul Azha. With little international rush because of awards season — the first Eid will take place a few days before the Academy Awards — the chances are that cinemas will let the film simmer on low heat until bigger and better fare comes their way.
Bullah (an HKC release) and Delhi Gate (Empire Productions) do not have that advantage. Bullah is a Shaan Shahid-starrer directed by Shoaib Khan (Jackpot). The film elevates Lollywood’s gandasa culture with John Wick’s bullets and Animal’s penchant for bloody, dead-body pile-ups (one can also see Animal’s influence in ALBM).
Delhi Gate, on the other hand, is the last of the pre-Covid-19 stragglers. It is a romantic actioner directed by Nadeem Cheema (Dorr, Jeo Sar Utha Ke), starring Yasser Khan and Shamoon Abbasi. Not to mention that, as of now, both seem to have limited promotional budgets.
A Lack of Promotion
Investing in extensive promotion is a non-negotiable expense if filmmakers want audiences to turn up. Internationally, marketing spends are at least twice a film’s production budget. In Pakistan, the buck stops anywhere between 10 and 30 percent of production costs.
There is a deluded belief that paying bloggers or advertising on social media platforms will fill cinema seats. Our filmmakers are also afflicted with the dangerous conviction that films, by their own virtue, have the power to pull people from their homes and deposit them into cinema seats. Both schools of thought are a risky gamble.
On the Hollywood front, one can bow down to the Almighty in prayer because a Dr Strange in the Multiverse of Madness-like situation will not develop this year.
For those not in the know, here is a quick flashback: when Dr Strange came out on Eidul Fitr 2022, cinema owners, chasing big bucks, allocated what was considered an unjust and excessive number of shows to the film due to the audience’s demands.
That allocation sparked a very public outcry and brief legal action from the makers of Parday Mein Rehnay Do, Dum Mastam and Chakkar (the fourth film in that Eid line-up was Ghabrana Nahin Hain, produced by the owners of Nueplex Cinemas).
The argument was as old as time, figuratively speaking.
With the exception of Wali Films and HKC — the two main importers of foreign films, along with Distribution Club — all distributors argue that Pakistani films only shine on Eid, so it’s only fair to give them every bit of space available then. Big Hollywood films (smaller Hollywood fare is fine due to some warped logic) and Indo-Punjabi films, therefore, should be kicked out of the playing field for a week or so.
That is an inane argument, given that foreign releases singlehandedly sustain the entire film business for the rest of the year. Using their assistance to prop up the business and then conveniently pushing them out to ‘support Pakistani cinema’ is a deeply self-serving approach.
A better alternative would be to produce films that can sustain themselves. But herein lies the problem. Who is making those films? Or, for that matter, who is making films at all?
Film production is down worldwide but the situation is critical in Pakistan. With pre-Covid-19 fare nearly exhausted with Delhi Gate and a few new productions underway, it seems that the two Eids will remain every filmmaker’s safe release window.
Looking Towards Eidul Azha
Even now, the Eidul Azha slate is filling up. Khan Tumhara, Bilal Ashraf’s co-production with distributor Hum Films, will be the film to beat in the coming months. The film stars Bilal Ashraf and Maya Ali and is directed by Mohammed Ehtashamuddin.
Its main competitor will be the Farhan Saeed-starrer Luv Di Saun, directed by Imran Malik (Azaadi) and produced by Irfan Malik, who also heads ARY Films.
There is some probability that the family entertainer Mango Jatt, starring Faysal Quraishi and Hareem Farooq, will complete post-production by then. Produced by Farooq, it is indie director Abu Aleeha’s most expensive, and perhaps most commercial, film to date. Another last-minute addition may be Nabeel Qureshi and Fizza Ali Meerza’s hush-hush project starring Fahad Mustafa and Mehwish Hayat, according to rumours.
Ergo, the Eid release rush shows no signs of slowing down.
Looking Back
At times, today’s reality echoes my youth. From the late 1990s to the early multiplex era, Pakistani films — at least those that made a difference — were released only on one of the Eids.
Examples include Bulandi (the debuts of Shaan Shahid and Reema), Jeeva (Babar Ali and Resham’s debuts), Kurriyon Ko Daalay Daana, Choorriyaan, Tere Pyar Mein, Mujhay Chaand Chahiye, Yeh Dil Aap Ka Hua and Majajan.
However, back then, the year-round release chain wasn’t as sparse as it is today. Yes, most films had disastrous runs — but, then again, the worldwide success rate has always been low.
Globally, the film industry’s success rate typically hovers between seven percent and 10 percent. The US releases around 500 films and China 800, producing roughly 50 and 80 hits (a 10 percent success rate) respectively. India’s strike rate is considerably lower. There, over 2,000 films were released last year, but only 41 were hits, with 37 crossing the INR 100 crore mark. This two percent success rate is the same as Pakistan’s last year. Nevertheless, in Pakistan, where only 14 films were released, two hits a year feels downright catastrophic.
In Need of Quality
It doesn’t have to be that way. Pakistan still has massive potential if the right films are made. Contrary to popular belief, cinemas still pull in crowds. Almost every major international release in 2025 — F1, Mission: Impossible: Final Reckoning, Jurassic World: Rebirth — made tens of crores.
Since distributor HKC doesn’t provide numbers, returns are estimated at 20 to 35 crore rupees per title. Superman, Fantastic Four: First Steps, Avatar: Fire and Ash and The Conjuring: The Last Rites, amongst others, weren’t slouches either. Indo-Punjabi films, meanwhile, average between five and seven crore rupees but when they click, their box office returns can be phenomenal. Carry on Jatta 3, for example, grossed 33 crore rupees in Pakistan after its initial release (it was re-released in 2025 and grossed another three or so crore rupees). Sardaarji 3, starring Diljit Dosanjh and Hania Aamir, made upwards of 63 crore rupees domestically, according to sources.
True story: this writer could only find Mission: Impossible tickets at four in the morning back in May. After its initial run ended, the film was re-released and still drew crowds. The 4am incident repeated itself in August, typically a non-performing month, when the anime Demon Slayer: Kimetsu no Yaiba – The Movie: Infinity Castle sold out nearly all 16 shows at Nueplex Askari on August 14.
The only show available was again at 4am, in Japanese! Two-and-a-half hours later, about 400 people — half of them exiting the English-dubbed version — walked out of cinemas. Demon Slayer ran for over six weeks nationwide, and its success was no fluke.
Jujutsu Kaisen 0, Suzume, Demon Slayer: To The Hashira Training, One Piece Film: Red and Chainsaw Man — The Movie: Reze Arc all saw varying levels of success. The Conjuring: The Last Rites had 184 shows across Pakistan on its third day of release, which was Sunday, when footfall typically drops. In comparison, a typical Pakistani film receives 20 to 40 shows per day nationwide.
Compare that with Love Guru’s 60 shows on Eid, and the contrast is a stark wake-up call. It isn’t the audience that has forsaken us. From the low quality of our films to the audience’s subliminal conditioning that good films only arrive on Eid, the fault lies with filmmakers and distributors.
The Way Forward?
However, there is an easy way to course-correct. With the two Eids falling in March and May and a general lack of high-quality international releases over the next year or two, summer holidays could turn out to be the best bet for a cinematic resurgence.
Ali Zafar proved that the formula works with Teefa in Trouble; the film was released in July between the two Eids. Ho Mann Jahan, an ARY Films release, opened on the first of January and struck gold. Bachaana, the only Valentine’s Day release in recent memory, also did quite well. It’s a pity that none of these scheduling strategies were repeated.
However, all hope may not yet be lost. There are whispers that Humayun Saeed’s flagship franchise Jawani Phir Nahin Ani 3 (JPNA 3) will be a non-Eid release. Until that is confirmed, that sigh of relief remains a pipe dream.
And who knows, given the vagaries of production schedules, JPNA 3 may still end up releasing on Eid, and Icon may well be running another one of these Eid features in 2027.
The writer is Icon’s film reviewer
Published in Dawn, ICON, February 8th, 2026
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SMOKERS’ CORNER: MONSTERS AND THEIR BLOWBACK
Pakistan serves as a pre-eminent case study of a state creating a ‘Frankenstein’s monster’ by funding and facilitating proxies to destabilise a neighbour. Throughout the 1980s, acting at the behest of the United States and Saudi Arabia, the Pakistani state recruited, trained and armed various Islamist Afghan groups to combat Soviet forces occupying Afghanistan.
Once the Soviet forces withdrew in 1989, the victorious proxies failed to reach an amicable power-sharing agreement and began fighting amongst themselves. Desperate to maintain a stake in the region, Pakistan helped mould an even more extreme force, the Taliban, who won decisive battles against rival factions to install a stringent Islamist regime by 1996 in Afghanistan.
While the Pakistani state believed it had successfully installed a government beneficial to its strategic geopolitical interests, the internal fallout of this involvement had already commenced. A decade of establishing recruitment centres where young men were indoctrinated and trained in guerrilla warfare eventually backfired.
These proxy militants turned their guns against the Pakistani state, forming groups such as the Tehreek-i-Taliban Pakistan (TTP) to demand the enforcement of Sharia law and the creation of a ‘Greater Afghanistan’ that included Pakistan’s own Pakhtun-majority areas.
From Afghan militancy in the 1980s and 1990s to the Middle East’s sectarian militias and from Africa to Balochistan, modern history is filled with states that created violent proxies, only for them to become existential threats to themselves
For the next two decades, anti-state groups comprising former proxies and their Pakistani allies unleashed waves of brutal attacks across the country. By the time the state fully grasped the devastating consequences of the strategy it had initiated in the 1980s, over 80,000 Pakistani soldiers, police personnel, politicians and civilians had been killed.
This ongoing conflict underscores a devastating strategic reversal, where proxies, once cultivated as a shield for regional interests, became an existential threat, sustained by the very forces Pakistan helped bring to power.
This is but just one example of how proxies often become a problem for their own creators, a phenomenon frequently described as ‘blowback’. History is littered with instances where short-term tactical gains through third party actors led to long-term domestic catastrophes.
In 2009, the American journalist Andrew Higgins wrote that Israel’s early, indirect encouragement of Islamist elements in the Palestinian territories as a counterweight to Yasser Arafat’s secular Palestine Liberation Organisation (PLO), contributed to the rise of Hamas, which later became Israel’s most formidable local adversary.
These cases demonstrate a recurring geopolitical truth, that when a state breathes life into a proxy, it loses the ability to control the monster’s appetite once the original mission is over. This loss of control often transforms a strategic asset into a primary security threat, as Iraq experienced following the 2003 US invasion. The initial support provided by regional powers such as Syria, Saudi Arabia and Iran to sectarian militias in Iraq eventually resulted in the birth of the Islamic State (ISIS).
In his book ISIS: A History, Lebanese-American academic Fawaz Gerges writes that many of the fighters who formed the backbone of ISIS were seasoned by years of proxy warfare, eventually turning their sights not just on Western targets, but on the regional states that had once turned a blind eye to their radicalisation.
According to British academic Dr Alex Vines, Apartheid-era South Africa funded and trained rebels in Mozambique to destabilise that country. While the rebels successfully crippled Mozambique’s infrastructure, the resulting chaos created a massive refugee crisis and a thriving black market in small arms that flooded back across South African borders, fuelling a rise in violent crime and instability that persisted long after the official conflict ended.
In his book Proxy Warfare, the British political scientist Andrew Mumford writes that the danger of creating proxies lies in the inherent paradox of attempting to outsource national security to autonomous actors, whose interests only temporarily align with those of the sponsor.
According to the American political scientist Tyrone Groh, while states often view these groups as cost-effective tools for projectable power and plausible deniability, they frequently ignore the reality that a proxy is not a precision-guided weapon but a sentient political entity with its own evolving ambitions.
As a conflict progresses, the proxy inevitably seeks to shed its dependence on its creator, often utilising the training, funding and ideological fervour it was gifted by its facilitator to pursue an independent and frequently contradictory agenda. This transforms a strategic asset into a domestic liability, a phenomenon that forces the original sponsor to expend even greater resources to contain the radicalism or violence it once actively cultivated.
Despite the overwhelming historical evidence that proxies eventually turn on their creators, the allure of low-cost, deniable warfare remains irresistible to modern states. According to Mumford, this persistence suggests that, for many governments, the immediate tactical advantages — such as bleeding a rival — outweighs the potential for long-term domestic catastrophe.
Contemporary geopolitics has seen the rise of new sponsors who have adopted these risky strategies with varying degrees of success and instability. India has frequently been accused of utilising proxy groups to maintain leverage in its complex regional environment. More recently, scholarship has examined the manner in which India is leveraging Baloch separatist groups in Pakistan to destabilise its western frontier.
The Baloch separatist Balochistan Liberation Army (BLA), as well as the Islamist TTP, have increasingly been identified by Pakistani authorities and some regional analysts as instruments of Indian strategic interest. The discourse surrounding their Indian-proxy status has intensified following significant escalations in 2025 and 2026.
Perhaps more surprisingly, the UAE has emerged as a significant sponsor of third party actors to project power far beyond its small geographic footprint. According to the conflict analyst Emadeddin Badi, during the Libyan civil war, the UAE provided extensive military support, drone strikes, and funding to Gen Khalifa Haftar’s Libyan National Army (LNA).
According to the researcher Peter Salisbury, in Yemen, the UAE trained and equipped the Southern Transitional Council (STC), a separatist militia that eventually staged military takeovers of key governorates, often clashing with the interests of the UAE’s own coalition partner, Saudi Arabia. UAE has also faced international scrutiny for its alleged role in fuelling the civil war in Sudan by supplying the Rapid Support Forces (RSF) with weapons and logistics, a strategy that has contributed to a massive humanitarian crisis and a surge in regional instability.
According to Groh, the continued reliance on this strategy by states confirms a grim geopolitical truth: the “Frankenstein” lesson is often ignored in favour of immediate strategic depth.
Even as nations witness blowback around the world, the temptation to use proxies as a ‘surgical’ tool for regional dominance remains a primary feature of modern statecraft, despite the near-certainty of future complications.
Published in Dawn, EOS, February 8th, 2026
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ADVICE: AUNTIE AGNI
Dear Auntie,
I am 18 years old and my family is forcing me to quit my studies and help my father in the family business. This has left me depressed. I want to become an engineer and I am currently preparing for the engineering college admission test (ECAT). My dream is to get admission in COMSATS University Islamabad.
But my family is demotivating me, saying I will not get admission in any university and that I should just join our family business. I have argued with them about it so many times but I can’t win.
Dreaming Under Pressure
‘My Parents Want Me To Give Up On My Dreams’
Dear Dreaming Under Pressure,
What your family is doing obviously feels suffocating to you. The thing is that when the people who you expect will always back you (ie family) start predicting that you will fail, it can mess with your head. You can start doubting your own dreams and capabilities. However, that only means that you are human.
But you are not alone. Being pressured to join a family business is common, as is having your ambition trivialised or dismissed. However, despite facing opposition, some people still go on to become engineers… and so, that is also common.
Right now, your family is speaking from a place of fear, not facts. They are probably thinking, “What if he fails?” and they also probably think that the family business is something that is guaranteed. Whereas you are probably thinking, “What if I never try?” This last fear is the one that can end up following you for the rest of your life.
At 18, most people’s life direction gets decided. If you give up now just to avoid arguments, you won’t be at peace. You’ll likely end up feeling resentful. And simmering resentment is not good for anyone’s family business.
On the flip side, if we are being honest, shouting matches between you and your parents won’t help you win this. You cannot defeat your parents with your emotions. You need to think this through… calmly.
So, firstly, stop arguing in a dramatic way and start talking to them like someone who has thought this through. Show them the dates for your ECAT and the entry test schedules. Share college fee structures, any scholarships you want to try for and your back-up universities. Talk to your parents and tell them to give you one year in which, if you don’t get admission, you will reconsider joining the family business. Parents understand when you talk about solid plans rather than when you cry about not being able to live your dreams.
And helping out and getting involved in the family business for some time does not have to mean that you will have to leave your studies. Many people study while handling work responsibilities. It might be difficult, but it is not impossible.
You are feeling depressed because you feel trapped. The way to deal with that feeling is to take control where you can. So, start putting together daily study goals and a schedule for ECAT prep. Do practice tests. When you take action, it reduces your feelings of helplessness.
Remember that your family doubting your capabilities does not predict your future. Many engineers, doctors and professionals were told that they won’t get in. Treat those doubts as noise, not your prophecy.
You are not asking your parents for money to party and waste your life. On the contrary, you are asking for professional education, which is a legitimate request. So, approach your parents calmly and with a plan. I wish you the best of luck.
Disclaimer: If you or someone you know is in crisis and/or feeling suicidal, please go to your nearest emergency room and seek medical help immediately.
Auntie will not reply privately to any query. Please send concise queries to: auntieagni@gmail.com
Published in Dawn, EOS, February 8th, 2026
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LIFESTYLE: PUTTING A SOCK IN IT
It’s pretty normal to wear the same pair of jeans, a jumper or even a t-shirt more than once. But what about your socks? If you knew what really lived in your socks after even one day of wearing, you might just think twice about doing it.
Our feet are home to a microscopic rainforest of bacteria and fungi — typically containing up to 1,000 different bacterial and fungal species. The foot also has a more diverse range of fungi living on it than any other region of the human body. The foot skin also contains one of the highest amount of sweat glands in the human body.
Most foot bacteria and fungi prefer to live in the warm, moist areas between your toes, where they dine on the nutrients within your sweat and dead skin cells. The waste products produced by these microbes are the reason why feet, socks and shoes can become smelly.
For instance, the bacteria Staphylococcal hominis produces an alcohol from the sweat it consumes that makes a rotten onion smell. Staphylococcus epidermis, on the other hand, produces a compound that has a cheese smell. Corynebacterium, another member of the foot microbiome, creates an acid which is described as having a goat-like smell.
Can you wear the same pair of socks more than once?
The more our feet sweat, the more nutrients available for the foot’s bacteria to eat and the stronger the odour will be. As socks can trap sweat in, this creates an even more optimal environment for odour-producing bacteria. And these bacteria can survive on fabric for months. For instance, bacteria can survive on cotton for up to 90 days. So, if you re-wear unwashed socks, you’re only allowing more bacteria to grow and thrive.
The types of microbes resident in your socks don’t just include those that normally call the foot microbiome home. They also include microbes that come from the surrounding environment — such as your floors at home or in the gym or even the ground outside.
In a study which looked at the microbial content of clothing that had only been worn once, socks had the highest microbial count compared to other types of clothing. Socks had between eight to nine million bacteria per sample, while t-shirts only had around 83,000 bacteria per sample.
Species profiling of socks shows they harbour both harmless skin bacteria, as well as potential pathogens such as Aspergillus, Candida and Cryptococcus, which can cause respiratory and gut infections.
The microbes living in your socks can also transfer to any surface they come in contact with — including your shoes, bed, couch or floor. This means dirty socks could spread the fungus which causes Athlete’s foot, a contagious infection that affects the skin on and around the toes.
This is why it’s especially key that those with Athlete’s foot don’t share socks or shoes with other people, and avoid walking in just their socks or barefoot in gym locker rooms or bathrooms.
What’s living in your socks also colonises your shoes. This is why you might not want to wear the same pair of shoes for too many days in a row, so any sweat has time to fully dry between wears and to prevent further bacterial growth and odours.
Foot hygiene
To cut down on smelly feet and reduce the number of bacteria growing on your feet and in your socks, it’s a good idea to avoid wearing socks or shoes that make the feet sweat.
Washing your feet twice daily may help reduce foot odour by inhibiting bacterial growth. Foot antiperspirants can also help, as these stop the sweat — thereby inhibiting bacterial growth.
It’s also possible to buy socks which are directly antimicrobial to the foot bacteria. Antimicrobial socks, which contain heavy metals such as silver or zinc, can kill the bacteria which cause foot odour. Bamboo socks allow more air flow, which means sweat more readily evaporates — making the environment less hospitable for odour-producing bacteria.
Antimicrobial socks might therefore be exempt from the single-use rule, depending on their capacity to kill bacteria and fungi, and prevent sweat accumulation.
But for those who wear socks that are made out of cotton, wool or synthetic fibres, it’s best to only wear them once to prevent smelly feet and avoid foot infections.
It’s also important to make sure you’re washing your socks properly between uses. If your feet aren’t unusually smelly, it’s fine to wash them in warm water that’s between 30-40 degrees Celsius with a mild detergent. However, not all bacteria and fungi will be killed using this method. So to thoroughly sanitise socks, use an enzyme-containing detergent and wash at a temperature of 60 degrees Celsius. The enzymes help to detach microbes from the socks while the high temperature kills them.
If a low temperature wash is unavoidable, then ironing the socks with a hot steam iron (which can reach temperatures of up to 180-220 degrees Celsius) is more than enough to kill any residual bacteria and inactivate the spores of any fungi — including the one that causes Athlete’s foot.
Drying the socks outdoors is also a good idea, as the UV radiation in sunlight is antimicrobial to most sock bacteria and fungi.
While socks might be a commonly re-worn clothing item, as a microbiologist, I’d say it’s best you change your socks daily, to keep feet fresh and clean.
The writer is Senior Lecturer in Clinical Microbiology at the University of Leicester in the UK
Republished from The Conversation
Published in Dawn, EOS, February 8th, 2026
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