ALGIERS: North Africans say they are missing the taste of Ramadan, as coronavirus restrictions deprive them of traditional mealtime gatherings, evening outings and beloved sweets during the Muslim holy month.
“It’s not the usual Ramadan,” said one woman shopping in Ariana, near the capital Tunis, looking desperately for the cakes and sweets that normally fill the stalls during the fasting month.
Ramadan is traditionally a time for worship and socializing.
The faithful refrain from consuming food and water during the day, breaking their fast at dusk with family and friends for a meal known as iftar, and often going out afterwards.
But this year, social distancing measures have largely put a stop to the usual Ramadan traditions.
Mosques in Algeria, Morocco and Tunisia have been closed to curb the spread of the novel coronavirus, preventing special evening prayers.
There are no long nights of musical gatherings, and in the medina of Tunis, there are no Sufi-inspired “hadra” chants and no “stambali” — a mystical trance dance ritual.
The old cities of Rabat, Casablanca and Tunis, normally crowded after iftar, are like ghost towns.
“Even the meals that bring all the family together around the same table are impossible — I’m afraid for my parents, who are elderly and sick,” said Maissa, a 46-year-old teacher from Algiers.
“The coronavirus has taken all the flavour out of the holy month this year,” said the mother-of-four.
In Morocco, dates — a Ramadan staple — and sweets are still available at the markets or in supermarkets.
“But I can’t travel to have iftar at my parents’ place” due to the night-time curfew, lamented one 35-year-old teacher who lives alone in Marrakesh.
“No cafes, no people in the mosques... it’s unprecedented,” he said.
In Algeria, after businesses were allowed to reopen at the start of Ramadan in April, crowding led authorities to reimpose closures in some areas.
Some in the capital Algiers traveled to Boufarik — around 30 kilometers (18 miles) away in Blida province, the epicenter of the country’s virus outbreak in early March — for a sugary sweet known as zlabia.
One man, Salem, said that in 30 years he had never failed to have zlabia from Boufarik on the table for Ramadan, but this year he came back empty-handed.
“Most of the stalls are closed and those that are open are crowded, so I turned back,” the 51-year-old said.
Authorities in Algeria have even prohibited community restaurants and soup kitchens where volunteers serve meals to the poor during the holy month.
Fekhreddine Zerrouki said his charity organization had planned to serve more than 1,500 meals a day, but was doing deliveries instead.
Samir, a volunteer with the Algerian Red Crescent, said the number of people benefiting from such Ramadan charity initiatives was “very low compared to the number of people in need.”
“We are missing the taste of Ramadan because of the lack of zlabia or the lost evenings, but some people don’t even have dates for breaking their fast,” he said.
Coronavirus ‘takes flavor out of Ramadan’ in North Africa
https://arab.news/rwuaj
Coronavirus ‘takes flavor out of Ramadan’ in North Africa
- Social distancing measures have largely put a stop to the usual Ramadan traditions
- Old cities normally crowded after iftar are like ghost towns
Why this year’s Golden Globes race feels so unpredictable
- No dominant frontrunner and openness among voters
- ‘Hamnet,’ ‘Sinners,’ ‘Sentimental Value’ in contention
LOS ANGELES: With the Golden Globes approaching, this awards season has taken on an unusually fluid shape. Instead of a single dominant frontrunner, the race is being defined by range, taste, and a noticeable openness among voters.
Prestige dramas are sharing space with ambitious studio films, while several contenders have built momentum quietly rather than through aggressive campaigns. The result is a season that feels unpredictable — in the best possible way.
That sense of openness is reflected not only in the awards race itself, but also in the broader tone surrounding this year’s ceremony. The 83rd Annual Golden Globes will air live on CBS on Sunday, Jan. 11, 2026, with comedian and actress Nikki Glaser returning as host.
Recently announced presenters include a wide cross section of film, television, and music figures.
Among them are Julia Roberts, George Clooney, Jennifer Garner, Kevin Hart, Miley Cyrus, Snoop Dogg, Amanda Seyfried, Ana de Armas, Ayo Edebiri, Colman Domingo, Dakota Fanning, Kathryn Hahn, Queen Latifah, Zoe Kravitz, and Pamela Anderson.
The diversity and generational range of the presenter lineup mirrors the season itself, blending established icons with contemporary voices and signaling a ceremony that leans into variety rather than predictability.
In the drama categories, “Hamnet” has emerged as a serious presence, earning steady respect across critics’ groups and industry conversations. Its restrained approach and emotional weight have resonated with audiences and awards watchers who value craft over spectacle.
At the same time, “Sinners” and “Sentimental Value” remain firmly in contention, particularly if voters gravitate toward character-driven storytelling rather than formal experimentation.
On the musical or comedy side, “One Battle After Another” appears especially well-positioned, carried by strong ensemble work and a level of sustained buzz that has followed it throughout the season.
The acting races are no less competitive. Wagner Moura has placed himself near the front of the Best Actor, Drama conversation for his performance in “The Secret Agent,” a role widely praised for its restraint and complexity.
Michael B. Jordan continues to generate strong support for “Sinners,” reinforcing his position as a consistent awards presence.
In the musical or comedy field, Timothee Chalamet has become a frequent prediction for “Marty Supreme,” a performance many see as both charismatic and strategically timed.
The actress races are equally open, with Jessie Buckley and Rose Byrne widely cited as leading figures, while the supporting categories continue to spotlight standout work from Stellan Skarsgard and Inga Ibsdotter Lilleaas.
In directing, momentum appears to favor Paul Thomas Anderson for “One Battle After Another,” reflecting both critical admiration and industry confidence.
Screenplay and score conversations have included “Sinners” and “KPop Demon Hunters,” underscoring a year that balances artistic ambition with broader appeal.
However the night ultimately unfolds, this year’s Golden Globes feels less about safe consensus choices and more about recognizing work that lingered long after the credits rolled.
From the nominees to the presenters taking the stage, the ceremony reflects a film year defined by confidence, creative risk, and a refreshing absence of certainty.
