Jannatul Naym Pieal

Jannatul Naym Pieal is a Dhaka-based writer, researcher, and journalist with over a decade of experience in professional journalism.

Illustration: TBS
Panorama

Unprecedented ascension, inevitable fall

Women farmers, deeply reliant on access to natural resources for both farming and domestic survival, are among the most affected, caught between ecological collapse and inadequate structural support. Photo: Shaharin Amin Shupty
Panorama

Hope in the hills: How women farmers in Bandarban are weathering the climate crisis

Footsteps Bangladesh, a development-based social enterprise that dared to take on the task of cleaning a canal, which many considered a lost cause. Photos: Courtesy/Footsteps Bangladesh
Panorama

A dead canal in Dhaka breathes again — and so do Ramchandrapur's residents

Illustration: TBS
Panorama

Examophobia tearing apart Bangladesh’s education system

The Kallyanpur Canal is burdened with more than 600,000 kilograms of waste every month. Photo: Courtesy
Panorama

Kallyanpur canal project shows how to combat plastic pollution in Dhaka

From fact-checker to fact-checked: CA Press Wing’s turn in the hot seat
Panorama

From fact-checker to fact-checked: CA Press Wing’s turn in the hot seat

Illustration: TBS
Panorama

Sei U Sen and The Day of the Jackal: Tracing Forsyth’s footprint in the world of Masud Rana and beyond

File photo of Eid holidaymakers returning to the capital from their country homes/Rajib Dhar
Features

Dhaka: The city we never want to return to, but always do

Photo collage shows political posters in Bagerhat. Photos: Jannatul Naym Pieal
Bangladesh

From Sheikh Dynasty to sibling rivalry: Bagerhat signals a turning tide in local politics

Illustration: TBS
Panorama

Unbearable weight of the white coat: The mental health crisis in our medical colleges

Illustration: TBS
Pursuit

How to not write like an AI

Photos: Courtesy
Splash

Tanim Noor rekindles Eid nostalgia with Utshob

Dance sequence from the film Paheli. Photo: Collected
Splash

Paheli at 20: Shah Rukh Khan’s most experimental film still outshines its successors