LOS ANGELES: Marvel’s superhero films could lose their most famous character after Sony confirmed Tuesday that talks over its deal to share Spider-Man with the Disney-owned studio have broken down.
The Marvel movies have together grossed $22 billion at the global box office, and British actor Tom Holland’s Spider-Man has become an increasingly central figure in the most lucrative franchise in film history.
But while the teen web-slinger has for decades been the crown jewel of the Marvel comic book empire on which the films are based, Sony owns the character’s movie rights.
He only began appearing in Disney-owned Marvel’s “cinematic universe” after the Hollywood giants stuck an almost-unprecedented, and still highly secretive, 2015 deal to co-produce and split profits across the films.
A key aspect of that partnership has now broken down.
Sony confirmed that Marvel Studios boss Kevin Feige — widely credited with the phenomenal boom in comic book movies of the past decade — will no longer produce Spider-Man films, with a spokesman adding the studio was “disappointed.”
“We hope this might change in the future, but understand that the many new responsibilities that Disney has given him... do not allow time for him to work on IP (intellectual property) they do not own,” the Sony spokesman said in a statement sent to AFP.
The separation makes it “almost certain” that the character Spider-Man will be absent from crossover appearances in future Marvel films, according to Hollywood Reporter journalist Graeme McMillan.
Multiple Hollywood media outlets reported earlier Tuesday that Disney and Sony had failed to agree on financial terms for future Spider-Man films.
According to Deadline, which broke the news, Disney had wanted to significantly increase its financial stake in new Spider-Man movies, while Sony refused to alter existing terms.
Sony said the reports “mischaracterized recent discussions,” but thanked Feige for “the path he has helped put us on, which we will continue.”
In financial terms, Spider-Man is one of the most successful superheroes in movie history.
Holland’s iteration of Spider-Man has delivered box office gold — he has appeared in a total of five Marvel Studios and Sony films since the collaboration deal, which collectively grossed almost $8 billion worldwide.
These included Marvel’s “Avengers: Endgame,” the highest-grossing movie of all time.
At Comic-Con last month, Marvel Studios set out a timeline of films and television shows scheduled for the next two years including new outings for popular characters Thor, Black Widow, Doctor Strange and Loki — but none featuring Spider-Man.
Feige is also expected to be busy overseeing new Marvel franchises acquired by Disney in its purchase of 21st Century Fox, which include the popular “X-Men.”
Sony last year produced an Oscar-winning Spider-Man animation separate from Marvel Studios’ domain, as well as a standalone film centered on popular Spider-Man villain Venom.
Disney did not immediately respond to request for comment.
Spider-Man’s Marvel future in peril as Sony deal breaks down
Spider-Man’s Marvel future in peril as Sony deal breaks down
- The Marvel movies have together grossed $22 billion at the global box office
- A key aspect of that partnership has now broken down
New Bassam Freiha Art Foundation seeks to ‘reclaim the Orientalist narrative’
- Orientalist art was largely produced by 19th century European artists who portrayed segments of Asian and Middle Eastern societies in a highly stylized and romanticized manner
- The foundation’s inaugural exhibition showcases a selection of paintings by French artists Rudolphe Ernst, Leon Comerre and Paul Leroy, among others, as well as works on loan by Arab artists including Habib Srour, Abdul Qader Al-Rais and Cesar Gemayel
ABU DHABI: There has been a boom in cultural offerings in the UAE’s capital which now includes the newly-opened Bassam Freiha Art Foundation, named after the veteran Lebanese patron, that houses a collection of Orientalist artwork as well as a number of Arab works.
The foundation in the Saadiyat Cultural District will offer art education and panel discussions, support emerging talent, and invite private collectors to display their collections.
The district is already home to the Louvre Abu Dhabi, and upcoming projects including Guggenheim Abu Dhabi, the Zayed National Museum and the Natural History Museum.
Freiha has collected about 50 Orientalist artworks and previously opened a gallery, called Mathaf, in London in 1976, to showcase some of them. Orientalist art was largely produced by 19th century European artists who portrayed segments of Asian and Middle Eastern societies in a highly stylized and romanticized manner.
“This foundation is the first and only private art foundation in Abu Dhabi,” Michaela Watrelot, director of exhibitions at the BFAF, told Arab News. “Mr. Freiha was building his collection over the past 50 years. He is really captivated by the beauty of Orientalist art and his interest was sparked by museum visits, literature and his personal creativity leading to a deep appreciation for art,” she said.
“The idea of bringing his personal collection out to the public was long-lasting and he was looking for the right approach,” Watrelot added. “First, he wanted to open his private home and welcome people to see his collection, but then following the guidance of the UAE leadership, he was actually encouraged to bring the collection to the Saadiyat Cultural Island.”
Opened to the public in early March, the foundation’s inaugural exhibition is called “Echoes of the Orient” and showcases a selection of paintings of harems, lounging odalisques and Arab-inspired architecture created by, among others, French artists Rudolphe Ernst (1854-1932), Leon Comerre (1850-1916) and Paul Leroy (1860-1942).
The exhibition also features works on loan by Arab artists including Lebanon’s Habib Srour (1860-1938), the UAE’s Abdul Qader Al-Rais (born in 1951) and Lebanese painter Cesar Gemayel (1898-1958).
“The exhibition aims to reclaim the Orientalist narrative by juxtaposing Western portrayals with works on loan by Arab modernists and 19th century Orientalist photography; hoping to catalyze a meaningful West-East dialogue about the Orientalist movement, fostering a deeper understanding of cultural exchange,” said Watrelot.
Black-and-white photographs of women from the region are part of the exhibition. “The inclusion of 19th century Orientalist photographs offers a unique visual journey, transporting visitors back to the era of artist travelers,” according to a statement published by the BFAF.
“These photographs not only complement the painted works but also provide a more grounded, albeit still romanticized and stylized, representation of the East. They act as a visual bridge between the Orientalist fantasies captured on the paintings and the realities as viewed through the lens of Western photographers.”
A standout aspect of the foundation is its modern, pointed architecture, with large glass windows. Surrounded by water, the tranquil venue, designed by architect Rasha Gebran, accommodates a sculpture garden.
Saudi artist brings ‘special charm’ of Japanese art to life
- Maryam Al-Suwaidan paints Japanese-style whimsical characters that evoke feelings of nostalgia
- Love for Japanese art began in childhood when she copied drawings from the covers of videos and comic books
RIYADH: A Saudi artist whose fascination with Japanese animation began in childhood is breaking new ground in the Kingdom’s burgeoning art scene.
Maryam Al-Suwaidan paints Japanese-style whimsical characters that evoke feelings of nostalgia.
Her love for Japanese art began in childhood when she copied drawings from the covers of videos and comic books featuring her favorite characters.
“These works had a special charm for me and opened the doors of imagination, which motivated me to continue drawing,” she said.
Al-Suwaidan’s method is derived from chibi art, a style of Japanese cartoon and anime illustration characterized by small, cute and exaggerated characters with oversized heads.
In high school, as Al-Suwaidan’s fondness for the art form grew, she decided to learn Japanese.
“I didn’t realize that most of these works came from Japan until almost high school. This pushed me to watch more of their works, and the Japanese language was completely new to me but comfortable to listen to and easy to learn,” she said.
“By learning the language, I can now access books by artists that are not translated, and discover their new tools and how to execute artistic works more deeply.”
Al-Suwaidan said: “I started learning art at a chalk drawing workshop with the artist Shoa’a Al-Dosary. I focus on illustration — depicting objects and characters with detailed backgrounds, and sometimes adding a hint of surrealism. My inspiration comes from animated films and visual stories that stimulate my creativity.”
The biggest attraction of Japanese art for Al-Suwaidan is that despite the distance and language difference of the medium compared with local art, there are similarities in culture, values and ethics.
The Saudi artist is inspired by iconic anime films such as “Spirited Away” and “Howl’s Moving Castle” by Japanese director Miyazaki Hayao of Studio Ghibli, a Japanese production house known for its attention to detail and unique storytelling.
Japanese animations such as the works of Miyazaki Hayao, Nakura Yasuhiro and others have “brilliantly depicted” the worlds and noble ideas of their creators, Al-Suwaidan said.
“This motivated me to learn the Japanese language to read their books and become familiar with more of their works and techniques.”
Al-Suwaidan found inspiration from the works of Saudi and Japanese animators that she watched as a child.
“One of the works that is still etched in my memory is the film ‘Jazeerat Al Noor’ (Island of Light) by the Saudi director Osama Khalifa. It tells the story of ‘Hay Bin Yaqthan’ by Ibn Tufail and how he came to know the presence of the Creator through contemplation and reflection on nature around him. This feeling accompanies me every time I contemplate the world and creatures to draw,” she said.
Al-Suwaidan added: “I aim for my drawings to evoke emotions and resonate with viewers. I choose color palettes and designs based on the subject matter, focusing on highlighting the main element of the drawing.
“Saudi culture and traditions influence my work, particularly in how I portray nature and surroundings. Feedback on my art has been positive, reminding viewers of their childhood memories and dreams.”
Al-Suwaidan views art as an “integral part of society” that reflects identity and conveys messages: “Through art, an artist can express their lifestyle and perspectives, connecting with others in the community.”
Review: No luck of the Irish for Lindsay Lohan’s new movie on Netflix
LONDON: We were told that Lindsay Lohan was decidedly “back” when she starred in “Falling for Christmas” at the end of 2022. That film was a run-of-the-mill festive movie which saw Lohan shrugging off her bad girl image for something a little more wholesome. Though the film was categorically average, it did seem that the Dubai-based actress was, at least a little bit, “back” after years out of the spotlight.
It’s a trend Lohan is seeking to continue with “Irish Wish,” a fantasy rom-com on Netflix which sees her star as Maddie, a book editor for handsome Irish author Paul Kennedy – who is also the subject of her unrequited love. When Paul (Alexander Vlahos) invites her to Ireland to celebrate his wedding, a heartbroken Maddie stumbles upon a magical stone chair (yes, really) presided over by a whimsical, mischievous Irish woman (yes, really) with the power to grant your heart’s desires. Maddie wishes she was the one marrying Paul and, lo and behold, she wakes up the next morning transformed into his bride-to-be. Which would be great if she hadn’t already had a contrived and clumsy meet-cute with handsome photographer James (Ed Speleers, slumming it here in sharp contrast to some of his excellent recent work). Having set up the requisite rom-com ingredients, director Janeen Damian then lets her leading lady at it — cue a series of bumbling set pieces, longing glances and awkward conversations which lead to a climactic showdown when Maddie must decide whether to stick with her new life or try to get back the one she wished away.
To be fair, there are few actors better than Lohan at pulling off this kind of by-the-numbers romantic fluff. But this is far from her best work and far from her best film — even by rom-com standards, “Irish Wish” is pretty dire. Every set piece feels dated and derivative, every exchange between the stars lacks any sense of natural conversation or connection.
Rom-coms often get a bit of a pass because they give audiences exactly what they expect. Sadly, in this case, what viewers should expect is some awkward faux-romance and precious little comedy.
British luxury department store Harrods teams up with Qatari artist for Ramadan artworks
DUBAI: Luxury British department store Harrods has collaborated with Qatari artist Mbarak Al-Thani on two sets of imagery to mark Ramadan and Eid Al-Fitr.
The artwork will be displayed at Harrod’s Knightsbridge location in London, on digital greetings sent out by Harrods, for social content, and across digital screens in the store’s famous food hall.
Part of the façade of the world-famous department store features mashrabiya-style patterns incorporated in 1929 by architect Louis D. Blanc —these motifs play on architectural elements from the Arab world and artist Al-Thani drew inspiration from the design.
“I loved the idea of allowing myself to get inspired by bespoke patterns that inspired Harrods a century ago, reimagining these patterns in a contemporary feel and aesthetic was fun,” he told Arab News.
“I was mostly intrigued by the Agra Fort pattern and the Kashan pattern. Since these patterns were all Islamic and Eastern, they were a good fit to inspire a Ramadan design,” Al-Thani said, referring to a geometric zig-zag of semi-precious stones used in India’s 16 Century Mughal Agra Fort and the diamond-shaped medallion typically found in Persian Kashan rugs.
“I kept mashing these up until we reached a point of agreement with Harrods on the design that should go forward,” the artist said.
As an artist, Al-Thani feels like he has a duty to bridge gaps between cultures.
“What we create is a visual dialogue, aesthetics and design ultimately coming together to celebrate the beauty of culture,” he explained. “So what better venue to do that than Harrods? I have so many memories of Harrods throughout my life. From buying toys as a kid to dining as an adult. To work with such an institution is close to my heart.”
The artist also touched on the importance of an iconic British institution such as Harrods celebrating the Islamic month of Ramadan.
“Ramadan is one of the important events in the Islamic calendar,” Al-Thani added. “Harrods is also a place that brings people from all over the world together. Having a retail store like Harrods celebrate us, our culture and our holy month all while attending to all sorts of details from packaging, to interior displays, to social media is greatly appreciated,” he said.
The present Harrods building, constructed in 1905, stands on Brompton Road, south of Hyde Park, in the borough of Kensington and Chelsea. Henry Charles Harrod founded Harrods as a grocery store in 1849 but the concept expanded in the late 1800s to include a number of departments — today, it is known for its luxury fashion outlets as well as its lively food hall and cosmetics counters.
Artists explore ‘Saudi Futurism’ at Diriyah Contemporary Art Biennale in Riyadh
RIYADH: Visitors to the Diriyah Contemporary Art Biennale in Riyadh can ponder the concept of “Saudi Futurism” when walking through the new, semi-interactive, maze-like installation by physician-turned-artist Ahmed Mater in collaboration with Berlin-based photographer Armin Linke. The two men travelled across Saudi Arabia to document historical, industrial and scientific sites and presented their findings — mostly in photo form — to the audience in a visual statement on issues relating to infrastructure, agriculture, local resources, urbanism and landscape management.
“I was interested, some 12 years ago, to photograph the changes that were happening in Jeddah and around Makkah and understood that, for me, it would be too complicated, so I thought maybe it's much more interesting to turn it into a collaboration, as an artistic practice,” Linke told Arab News.
Mater, well-known in the Kingdom and abroad, has been documenting the ever-changing landscape of Saudi Arabia and its people for years. This was a chance for Mater to capture the morphing spaces in the rapidly evolving country with a fellow photographer who was just as passionate about the craft, through a new set of eyes. The dynamic duo approached the project with a fresh perspective, transfixed on the future while keeping in mind that the series would be displayed in historic Diriyah, the birthplace of modern Saudi Arabia.
“We decided to do the installation together and to visit specific places together. We did some pictures together; I went alone to some places, also Ahmed (Mater). Then we put the pictures together, like two jazz musicians, we improvised. And it comes to the point that sometimes we don't even know which is my picture or his picture. We were in sync,” Linke said with a laugh.
Like jazz musicians, they used each other’s energy to build upon the visual worlds they decided to capture. Also, like fans of the musical genre, they trusted their audience to engage.
Some of the images were partially screen-printed on what appears to be reflective sheets, to playfully allow the viewer to be part of the art.
“We liked to play with this idea that when you look at the future, you also look at yourself — using silkscreen technology,” Linke added.
The artists depicted areas such as Riyadh, NEOM, Dhahran and Thuwal, among other locations.
The Diriyah Contemporary Art Biennale is being held in the city’s JAX district and runs until May 24.