Amjad Islam Amjad — Poet par excellence

Amjad Islam Amjad — Poet par excellence
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Amjad Islam Amjad — Poet par excellence
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Amjad Islam Amjad — Poet par excellence
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Updated 13 January 2016

Amjad Islam Amjad — Poet par excellence

Amjad Islam Amjad — Poet par excellence

Amjad Islam Amjad is currently Pakistan’s best-known Urdu poet. Born on Aug. 4, 1944, he enjoys immense popularity among Urdu lovers in both India and Pakistan because of his brilliant poetry and excellent screenplays. Winner of many awards, including the Sitara-e-Imtiaz, and an author of many books of poetry, he has been a regular feature at poetry readings all over the world for the last four decades.

Some of his plays, dramatized by Pakistan Television (PTV) and other private television channels, have won international acclaim. “Waaris,” “Samandar,” “Waqt,” “Dehleez,” “Raat” and “Apne Log” are among his most popular screenplays. He wrote his first drama, “Pehla Khel,” in 1973.

First and foremost, however, he is a poet whose lines tug at the hearts of those who have either fallen in or out of love. Few modern-day poets have captured the feelings of lovelorn souls the way Amjad Islam Amjad has. His work is brilliant and towers well above his fellow poets.

In this wide-ranging interview, Amjad Islam Amjad spoke about a number of issues related to Urdu poetry, literature and its unique script. The conversation was repeatedly interrupted by his admirers who wanted to compliment him on the quality of his work.

Following are excerpts from the interview:

Q: How does it feel to be the object of such adulation around the world?
A: One feels happy. The late Ahmad Nadeem Qasimi, a towering figure of Urdu literature, would have said, “Kisi bhi shehr me jaaun, ghareeb-e-shehr nahi.” The love and adulation of friends and admirers and this acknowledgement is always welcome. People come and recite my couplets, recall meetings and poetry reading sessions — all these make one feel better. We get strength. It makes us realize that we have not led an empty, meaningless life. The greatest gift for a writer and a poet is for people to recall their work. I am always thankful to Allah for this bounty, this adulation, this respect.

Q: You have been all over the world. What is the status of Urdu?
A: There are two sides to it. One bright and one dark. Urdu as a spoken language is prospering in the world. There is no doubt that in the next 10 years, it might become the topmost spoken language in the world. Even now, it is among the Top 3 spoken languages — Chinese, English and Urdu. Spanish is No. 4. The fastest-growing language is Urdu. Having said that, I must say, rather ruefully, that its script is in danger of being forgotten. Urdu has become the language of the ear. It is no longer the language of the eye. There was a time, when it was the language of the eye. We used to read the written word. Now in SMS and smartphones, and on the Internet, you see the language in electronic format. Thus our attachment to the book, and especially to the script, is slowly losing its appeal. The new generation in Pakistan and India mostly write Urdu in Roman or Latin script. That is bad.

Q: The umpteen high-profile Urdu events organized in Saudi Arabia, in the UAE, in Canada and in the United States surely indicate that the language is thriving, doesn’t it?
A: In the last 10 years I have been invited to these Urdu-ki-nayee-bastiyan-type programs in Australia, in Europe, the United States and different places. (The term “Urdu ki nayee bastiyan” loosely translates as the new Urdu territories). These events are organized with passion and effort and I congratulate them, but I also tell them that these “Urdu ki nayee bastiyan” will become “nayee bastiyan” only when your children listen to and attend these programs. At these events, older people make up the audience rather than younger ones. The older generation comes to these events because of their sense of nostalgia in a foreign land. The older generation is well off, well settled; it has the money. They say let us invite some celebrity — some writer, some poet. Let us celebrate an evening with them. You cannot create new territories of Urdu like this.

Q:Then how can you create new territories of Urdu?
A: You have to teach your children Urdu in whatever way possible. At least make them aware of the Urdu words. This is because language is the door to culture and the key to it as well. Our children are being provided with all amenities and education in the West. When they are asked who they are, sadly they are lost. The noted Urdu poet Firaq Gorakhpuri, has an interesting couplet: “Main bas ek baar laajawab huwa/Jab kisi ne kaha ke kaun ho tum.” This amounts to an identity crisis, especially for those who are growing up in the West or in the Gulf. These children are unaware of our folklore, unaware of our traditions. Their parents teach them something about religion and that is it. Where do they belong? What is their history? What is their culture? The answers to these questions can only be provided by the language.

Q: Going back to the question about the script, is it possible for a language to survive without a script?
A: As I said the world is changing. Forty or fifty years ago, we could not have imagined the world we have today. The world has truly become a global village and it is connected. The question in this global village for you and me is dignity; if we are not equal to the rest of the world, what is the point? To hell with the global village, it means nothing to us. We have to look at it from this point of view. In the global village unless, and until, they have your own identity, these children will not be able to tell which country they belong to or which culture they belong to. Look at Danish children or Norwegian children. If you talk to them, they will tell you about their history and their culture. On the other hand, we have not taught our children our history and our culture because they cannot read the books that are in a language that is now foreign to them.

Q: Any particular examples that would explain this point?
A: Take the case of the popular and provocative Urdu fiction writer, the late Ismat Chughtai. I met her 30 years ago. What she told me was shocking, not least because I was a great fan of hers. She told me that her daughters couldn’t read her books. I couldn’t believe it. None of the children of many of the best Urdu writers could read or write Urdu. Take the case of the late Akhtarul Iman. In his family, nobody could read Urdu. Kaifi Azmi’s daughter, Shabana Azmi, can neither read Urdu script, nor can she write it.

Q: Shabana Azmi, the actress?
A: Yes, Shabana Azmi, the famous actress. She writes Urdu in Roman script. This is alarming. I am always concerned about how to connect the younger generation with Urdu script. Once they know the script, then their world will be open to them.

Q: You wrote some of the best Urdu plays. Are you still writing plays or are good plays still being written?
A: No, I have not written for television for the last 10 years; this was my personal decision. You can call it an emotional one. I am known to the people of my generation because of my dramas. I have a wider audience because of my plays. Poetry is limited. Everyone watches television. However, the proliferation of TV channels has brought the standard of screenplays down. I am not comfortable with what is happening.

Q; What about the state of fiction?
A: Literature moves in circles. The wave that came with the Progressive Writers’ Movement was so massive and high that a new wave that equals it might take some time. But still there are good writers. They may not be as good as the old-timers, but you never know if in the next 10 or 12 years, there may emerge writers who will take things to a different level.

Q: What about poetry?
A: The same is true of poetry. I am very optimistic. I am a little worried about poetry in India. Shahryar (Akhlaq Mohammed Khan) died three years ago and now there is nobody of his caliber. Irfan Siddiqui who is also no more was a remarkable poet. They were great poets, but not mushaira poets.

Q: Poetry seems to have degenerated. It is all about marketing these days, right?
A: I like one particular couplet from Altaf Hussain Hali. I have applied this couplet to my life as a writer. “Ahl-e-maani ko hai laazim sukhan aaraayi bhi/Bazm me ahl-e-nazr bhi hain tamashaayi bhi.” You have to cater to both. If you only cater to the “tamashaayi” (spectators), then you will turn into a “nautanki” (theatrical) poet. If you only run after the “ahl-e-sukhan” (the literati), then you will be confined to books and libraries. The writer as a poet has to take the middle way. Stoop to the level of the audience sometimes, but then try to bring them to a higher level. Poets should do both. After Shahryar, there was a younger generation of poets in India. But since they were not mushaira poets, they did not get enough recognition.

Q: What makes poetry in Pakistan of superior quality?
A: In Pakistan, poetry is of good quality because Urdu is the country’s national language. It means a great deal. Plus, Urdu has economic utility in Pakistan because it can get you employment, unlike in India. That also matters a great deal. In Pakistan the consistency of tradition has not broken while in India it has.

Q: Consistency of tradition? Can you please elaborate?
A: Let me explain. When India and Pakistan separated, the dominant thinking in India was that India’s national language should be Hindi and Hindi’s origin was Sanskrit. Because of that, they deliberately rooted out Persian and with that, the Arabic influence was also erased. Thus, Indian Urdu got closer to Hindi and at the same time got away from the main traditions. It got separated from the fountain where its source was. The mixture of Persian, Arabic and Hindi led to the creation of Urdu. When you remove two of those languages, you become dependent on only one. I asked many Indian friends as to why were they writing such poetry? Why do you seek and beg for appreciation in a mushaira? They said something very interesting that I had not realized. They said, “Amjad Sahib, among these 4,000 people who have come to listen to us, not more than 500 can read Urdu.” I am talking about 30 years ago. For me this was a revelation. I did not know things had reached such a point. Many of them could not read Urdu; that is what the writers said. In other words, they could only understand spoken Urdu. If you say to them, for example, “gham-e-jaana,” they will not be able to understand, but if you tell them “jaan ka gham,” then they may be able to understand. So they had to come down to their level to write poetry which they liked, and then they started clapping. If Urdu has survived in India somehow, it is because of Indian film music. Otherwise it has almost vanished. The tradition, however, continued in Pakistan because there was no distraction.

Q: What is your view about the Indo-Pak relations? What is your take on increasing people-to-people contacts?
A: This is the biggest tragedy, and however much we express our anguish, it does not diminish. If you want to know about the state of the Pakistan-India relationship, you must find out how long it takes for you to get an Indian or a Pakistani visa. If the relationship is good, visas are immediately issued; if not, then it takes days or months. This is the litmus test that people have devised. The visa office is the best barometer. This is absolutely wrong. I think people should meet each other. We have to accept the reality, whether we like it or not. The truth is that there are two separate nations. Personal likes and dislikes are a different thing. If we accept this, then we will be able to proceed. I am an eternal optimist. I feel — and it is my conviction — that because of people-to-people contacts and because of international pressure we will be forced to draw closer.

— The Pakistan Embassy has organized An Evening With Amjad Islam Amjad in Riyadh on Thursday, Jan. 14, at the Chancery Hall in the Diplomatic Quarter.


‘I’m getting orders from around the world’: How Merihan Dobiea took her new fashion label global

‘I’m getting orders from around the world’: How Merihan Dobiea took her new fashion label global
Updated 13 May 2021

‘I’m getting orders from around the world’: How Merihan Dobiea took her new fashion label global

‘I’m getting orders from around the world’: How Merihan Dobiea took her new fashion label global

DUBAI: From a fashion label to international brand collaborations, Dubai-based influencer Merihan Dobiea has been working hard to make a name for herself in the highly competitive fashion industry. 

The Egyptian blogger started her career four years ago, and already has garnered partnerships and brand deals with Swedish label Daniel Wellington and US footwear label New Balance among others. 

Dobiea, 23, recently launched the fashion label Threadz by Marmar. 

The brand, which went live in April, offers kaftans, dresses and abayas that can be worn by all women, not only conservative buyers, according to the young entrepreneur. 

“People say, ‘we see this stuff in the market, but every single piece has a different twist that you added that we can’t find in the market,’” Dobiea told Arab News. 

A month after the launch, the influencer said the feedback has been “amazing.” 

“I am getting orders from around the world — from the UK, Canada, Algeria, Egypt,” she said. “And a lot of customers are emailing me, praising the quality and packaging.”

To add a personal touch to the brand, Dobiea also sells two perfumes: Amani, named after her mother, and Layla, named after her niece.

Her passion for fashion and design goes back to her childhood. 

“I have pictures in my mom’s heels and her dresses. I always liked to apply lipstick as a kid. So, I feel like it was something that was just meant to happen after time,” she said. 

The idea for her fashion brand came after she struggled to find something for Ramadan to wear.

“I decided to start making my own stuff. I knew where the fabric shops were. So I went to get clothes that I liked and I used to take them to a tailor,” Dobiea said. 

After explaining her designs to the tailor, she began wearing the finished product. 

“People were like, ‘Wow, that’s so nice. Where did you get it from?’ and I’d always be like, ‘Oh, I just made it by myself,’” said Dobiea.

“Eventually my friends wanted to start wearing what I was wearing and I started making them pieces. Then it just got out of hand to be honest, but in a good way. So I started selling online.”

Dobiea began selling a few items on Instagram under a different brand name. But during the COVID-19 pandemic lockdown, she worked on the branding, quality and designs of her new brand, Threadz by Marmar.  

The designer is set to release a new Eid collection, just in time for the holiday. 


Lebanese artists address their country’s crises in new exhibition

Lebanese artists address their country’s crises in new exhibition
Updated 13 May 2021

Lebanese artists address their country’s crises in new exhibition

Lebanese artists address their country’s crises in new exhibition
  • In ‘Before the Cypress Broke,’ 15 artists examine how their country reached its current juncture

BEIRUT: “After the explosion, I was ready to give away everything I’ve ever done if it made the situation better. I hopped on any opportunity to donate my work in exchange for raising funds,” says Lebanese visual artist Ayla Hibri. “A lot of good people put together these platforms of exchange and it really felt like it was helping. It confirmed to me that art carries a kind of transferable honorable energy that can push people to do good.”

Hibri is by no means alone. Following the lethal blast in the Port of Beirut in August, Mary Cremin, the director of Void Gallery in Northern Ireland, reached out to Beirut Art Residency (BAR), offering the organization her support. She was willing to host a fundraising exhibition at her space in Derry, with all proceeds going towards the BAR Support Fund, which provides emerging artists with small grants.

“Everlasting Massacre,” Ayla Hibri, 2018. (Supplied)

“It was a very stressful period for us, as all three of our spaces in Gemmayze (the residency, the Project Space and La Vitrine) were heavily affected by the blast, as well as our homes,” says Nathalie Ackawi, partner and co-director at BAR. “We were, however, very moved by the messages of support we received, and this gave us strength to work on this exhibition.”

The end result is “Before the Cypress Broke,” which brings together work from 15 contemporary artists and addresses the seemingly simple, yet immensely complex, question of how Lebanon reached its current juncture. Borrowing its name from Mahmoud Darwish’s poem "The Cypress Broke,” the exhibition includes work from Ali Cherri, Charbel Haber, Omar Khouri, Salah Missi, Sirine Fattouh, Stephanie Dadour, Sandrine Pelletier, Gregory Buchakjian, Valerie Cachard, Ziad Antar and Hussein Nassereddine.   

“Everlasting Residue,” Ayla Hibri, 2017. (Supplied)

Hibri’s "Everlasting Massacre” was the first piece to be selected for the exhibition, “mainly because of the strong duality it holds,” says Amar Zahr, founder and co-director of BAR. “At first glance it looks to be a beautiful view. However, upon closer inspection the viewer will notice the mountain is literally being scraped off for cement — an illegal practice whereby Lebanon’s mountains are being wiped off the map. The natural environment has been altered for the sake of profitable investments, to build skyscrapers and to export cement. It’s a strong statement on the corruption that was ignored for so long, but is now clearly visible in the altered landscape of the country.”

Another of Hibri’s photographs, “Everlasting Residue,” is also included in the show. Both are part of a series called “Acts of Violence.” They represent what Hibri describes as “unfortunate interventions” — acts of apathy, indifference or contempt that are sadly common in Lebanon.

Ayla Hibri’s “Everlasting Massacre” was the first piece to be selected for the exhibition. (Supplied)

“They range from a plastic chair left behind after a picnic, to a whole mountain being destroyed, and it gets worse and worse until it leads to the explosion of the port and the destruction of half the city,” she says. “It’s all connected. They are examples that capture arrogance, negligence and disregard — attitudes and sightings that we have learned to live with. These photographs carry the weight of the price we have to pay and the damage that will need to be reversed in order to transcend to a better place.” 

Jacques Vartabedian’s “Prelude to Reversal” features a lone figure blended into a complex but colorful environment. (Supplied)

Although she wasn’t in Beirut at the time, the explosion halted everything for Hibri and her priorities radically shifted. She concentrated on being available for her family and friends, raising funds, and talking about what had happened in an attempt to try and understand. On a creative level, however, she has struggled. “It’s actually been quite hard. I couldn’t bring myself to take photos of Beirut after the explosion and I only managed to shoot one roll of film, which came out quite special but I will keep it to myself for now. It doesn’t feel right. Not much feels right to be honest when there is so much change to deal with and so many people suffering,” she says. “I spent most of my time the last few months researching, learning about our history, and trying to keep up with events as they occur, while maintaining my daily practice of going to the studio and working.” 

In contrast, Jacques Vartabedian’s “Prelude to Reversal” was an almost immediate response to the explosion — an attempt to recreate the destruction that he saw around him. It features a lone figure blended into a complex but colorful environment.

Jacques Vartabedian’s “Prelude to Reversal” was an almost immediate response to the explosion. (Supplied)

“I started painting it while the studio was in a chaotic state after the blast,” explains Vartabedian, whose studio is in the heavily damaged area of Mar Mikhael. “I just kept going to the studio for weeks, simply sitting there in the destruction and trying to digest it without moving a thing. I realized the need to recreate harmony with all the destruction around me by reimagining it in an aesthetic form.”

Vartabedian, perhaps, is in the minority. Daniele Genadry has also struggled creatively, not just with the explosion, but with all that has happened in Lebanon over the course of the past few years. She has found it “hard to react directly or even immediately on a creative level,” although she has been working on the idea of “first and last sight,” whereby perception is heightened through the knowledge of something’s potential loss. In other words, any given thing is only really seen for the first time when it is about to disappear.

“Familiar Mountains,” Daniele Genadry. (Harry Kerr courtesy of Void Gallery)

For the exhibition, which runs until June 5, Zahr and Ackawi chose a handful of prints from Genadry’s “Afterglow,” which features 20 photographs of a mountain view taken from Qartaba in Mount Lebanon. Shot over the course of 10 years, they vary in terms of timing, positioning, lighting and perspective, creating images that are “at once familiar and strange,” says Genadry, who also played with the distribution of light and color in each photograph. She then screen-printed them in black and white on mylar, a translucent material that changes appearance according to the light conditions in which the photographs are viewed.

“I think we are at a point right now where our perception of all nature is affected by a kind of bittersweet quality,” she says, “knowing that it is in danger and threatened due to the climate crisis and the shift in our relationship with it.” And because “Before the Cypress Broke” converses with grief and inevitability, says Genadry, “Afterglow” resonated “with the way I have approached the landscape motif in my work recently — as a bittersweet image.”

Daniele Genadry has also struggled creatively, not just with the explosion, but with all that has happened in Lebanon over the course of the past few years. (Supplied)

Although the question is left unspoken, all of the participating artists are faced with the same question: Where do they go from here? It’s almost impossible to answer.

“I believe that solidarity amongst the different players of the art scene both locally and internationally is essential,” says Ackawi. “Art and culture have always been essential pillars of the Lebanese identity, as well as its economy and tourism. It’s important for artists to continue to create and tell our story. As for us, as art practitioners and curators it is our job to support them in any way we can.”


No plan B: UK-based Palestinian singer Ruba Shamshoum’s jazzy journey

No plan B: UK-based Palestinian singer Ruba Shamshoum’s jazzy journey
Updated 13 May 2021

No plan B: UK-based Palestinian singer Ruba Shamshoum’s jazzy journey

No plan B: UK-based Palestinian singer Ruba Shamshoum’s jazzy journey
  • The Palestinian singer-songwriter discusses her new EP, ‘Risha,’ and its ‘spirit of love, unity and exploration’

AMSTERDAM: UK-based Palestinian singer-songwriter Ruba Shamshoum has just released her second solo record, a five-track EP called “Risha.” It is, she explains, a record about “different shades of love.”

“Not the traditional love that we talk about in mainstream Arabic music,” she clarifies. “We usually just talk about romantic, sexual love. That doesn’t represent all that love is. There’s so much more: Love for a newborn, a partner, for unity and nature. Or self-love — going on the necessary journey of understanding yourself and not allowing anyone to dictate who you are. I really wanted it to be different shades, but all with the same spirit of love, unity and exploration.”

Shamshoum’s exploration of music began after finishing high school in Nazareth. Inspired by the acts she saw in MTV, she was a singer in a rock band. But when she started university, studying English literature, one of the modules was “Jazz in American Literature.” One day, the lecturer played Louis Armstrong’s version of “When The Saints Go Marching In.”

“I was, like, ‘Oh my god! This is so playful. This is so happy.’ I just fell in love,” Shamshoum says. “It’s like the colors of the voice just appeared to me there. It made me realize a singer can do many things.”

Her association of ‘colors’ with voices and music is something that continues today, she explains. On the new EP, she says “Manara” is “a very dark, nocturnal forest kind of a song. It takes you into the woods,” while the title track is “pink-ish — it has more childlike qualities.”

After graduating, Shamshoum began studying music. And when her husband landed a job in Dublin, Ireland, she took the opportunity to sign up for a degree in Jazz Performance there. It was a big step. At the time, she didn’t play any instruments (she now plays keyboards) and knew nothing about music theory.

“It was a very demanding course,” she says. “But it was life-changing in so many ways. It was the first time I got real criticism, which is so important. A lot of musicians don’t get the privilege of getting good criticism of their work. That helped me a lot.”

Shamshoum’s genre-hopping blend of Western and Arabic influences is distinctive and striking. Its originality — the fact that it wasn’t a ‘safe’ sound based on things that were already popular — meant it required a certain degree of conviction from its creator, which Shamshoum says she may not have had without that “good criticism.”

“It really made me more resilient and confident in what I do, knowing that the people who were criticizing me wanted the best for me. They didn’t want to destroy me.”

Indeed, many of them helped her record her well-received first album, 2017’s “Shamat.” For a debut, it’s a remarkably self-assured work, on which she displays real faith in her own talent.

“I think since I wrote “Madeline” (released in 2015) — which was about dealing with self-loathing, and saying we’re not black-and-white, we are so many things, and that’s OK — I found my voice,” Shamshoum says. “When you see that other people are connecting with that, too, it gives you the confidence to say, ‘OK. I need to see what else is in there so more people can feel like they’re reflected in music and art.’”

The new EP builds on that record’s innovative take on Shamshoum’s influences, introducing electronic sounds and “tribal beats.”

“This record is definitely more groovy, more primal,” she says. “I would say it’s more upbeat, as well. We added a lot of layers, trying to get that celestial, atmospheric sound.”

The ‘we’ includes Grammy-nominated German-Turkish producer Alev Lenz.

“She really did an amazing job of connecting the dots (with musicians based in different countries). I feel like she took what I was doing and elevated it. It turned out much more powerful than I envisioned. It was such a beautiful journey.”

It’s a journey that began with that bold decision to take a music degree; a decision not everyone understood at the time.

“My mother was worried that I needed to start making money,” Shamshoum says. “I mean, she was right: There’s no money in music — especially as a niche artist singing in Arabic. In the West.” She laughs. “So she was worried about my future. But I have a partner who is really supportive. He was, like, ‘Don’t take half-steps. Just do the thing you want to do.’

“And with music, you either do it all the way or you don’t do it at all,” she continues. “You have to be committed. It needs to be part of your identity. Not your plan B.”


REVIEW: Superhero series ‘Jupiter’s Legacy’ is overcomplicated and underwhelming

REVIEW: Superhero series ‘Jupiter’s Legacy’ is overcomplicated and underwhelming
Updated 13 May 2021

REVIEW: Superhero series ‘Jupiter’s Legacy’ is overcomplicated and underwhelming

REVIEW: Superhero series ‘Jupiter’s Legacy’ is overcomplicated and underwhelming
  • Netflix’s attempt to grab some supe-cred falls well short of the mark

AMMAN: “Jupiter’s Legacy” has an intriguing premise and some serious pedigree behind it.

Showrunner Steven S. DeKnight’s source material is the eponymous comic-book series written by Mark Millar, the man who created two of Marvel’s most-beloved storylines: “Civil War” (The Avengers) and “Wolverine: Old Man Logan.” Millar’s knack for exploring the darker side of heroes and asking awkward questions about just how much freedom superbeings should be allowed to have in society is on display again here.

“Jupiter’s Legacy” focuses on a generation of superheroes who acquired their powers in the 1930s. The tale of how they did so is told in flashbacks (a misleading description given the painfully slow pace at which that story unfolds) intercut with the present-day storyline when those same heroes, or most of them at least, are looking to pass the torch to a younger generation of superpowered folks, some of whom are their own children, and some of whom have no wish to be superheroes.

The original heroes, led by The Utopian/Sheldon Sampson (basically Superman), played by Josh Duhamel, and his wife Lady Liberty/Grace Kennedy-Sampson (basically Wonder Woman), have all lived according to The Code — a set of ideals formulated by Sheldon when they first got their powers. The main two being not to kill and not to meddle in political affairs. The Code is being called into question in a world where supervillains have no such qualms about taking lives.

The show could have been — and occasionally tries to be — an intriguing meditation on parental dynamics (including the strain put on kids whose parents are the moral compass and defenders of the world), the transfer of power, the morality of killing to save lives or refusing to kill even though it may cost them, and the difficulty of remaining apolitical in an increasingly politically divided country/world.

Unfortunately, when the show does address those issues, it does so with all the subtlety and nuance of a foghorn. And by trying to cram so many hot-button topics into a show that also requires plenty of action, DeKnight presents the audience with an often incoherent story containing several jarring gear changes.

There is little time for any real character development either, so DeKnight falls back on genre tropes and stereotypes. There are peppy heroes, sardonic heroes, dumb-but-cute heroes… You get the picture.

And yes, it’s a superhero show — a genre that doesn’t lend itself to great dialogue, but even that low bar is too high for “Jupiter’s Legacy” to clear. You can almost see the actors wincing at some of the lines they have to deliver. Save them the embarrassment and watch something else.


Inside Dubai’s Guinness World Record-breaking hotel

Inside Dubai’s Guinness World Record-breaking hotel
Updated 13 May 2021

Inside Dubai’s Guinness World Record-breaking hotel

Inside Dubai’s Guinness World Record-breaking hotel

DUBAI: Address Hotels and Resorts will be coming to Saudi Arabia soon … but in the meantime, the company has been creating records in the UAE.

There was a lively vibe from the moment we entered the lobby of the Address Beach Resort in Dubai. The lounge was operating at full capacity (as per COVID-19 health and safety guidelines), serving teas, coffees, and light bites to tourists, groups of friends, and businesspeople.

At reception, we were welcomed by a friendly member of staff to assist with check-in. This was our first visit to the hotel, which opened in December, and we had high hopes – not only because of its excellent location and stunning views, but also for its Guinness World Record-holding features. But more on that later.

The brand currently runs nine hotels in the country. (Supplied)

The Address Beach Resort is the latest in the portfolio of Address Hotels and Resorts, part of the UAE’s Emaar Hospitality Group. The brand currently runs nine hotels in the country, plus one in Egypt. Its first in Saudi Arabia, the Jabal Omar Address Makkah, is set to open this year.

For people who experience ear-popping while riding an elevator, be warned, the Dubai hotel’s twin towers stand tall, 77 floors to be exact, featuring 217 guest rooms and suites, plus 443 furnished, and 478 unfurnished residences.

The hotel recently made headlines after receiving Guinness World Record titles for highest outdoor infinity pool in a building. (Supplied)

The resort offers different room types – mainly marina or sea view – and includes an exclusive two-bedroom panoramic suite, and three-bedroom presidential suite.

We opted for a humble deluxe sea-view room, but it was by no means subpar. Spaciously designed with neutral tones, and with just the right amount of furniture, the star of the room was without doubt the floor-to-ceiling windows that offered a glorious view of Bluewaters Island and Ain Dubai.

The only drawback was that the windows can get quite smudgy due to the humidity, and without window cleaning every day there can be times when the view is not crystal clear. So, for those wanting to take high-rise photos, booking a room with a balcony would be recommended.

The Dubai hotel’s twin towers stand tall, 77 floors to be exact, featuring 217 guest rooms and suites, plus 443 furnished, and 478 unfurnished residences. (Supplied)

Our spacious bedroom was accompanied by a similarly airy bathroom – with separate tub and shower (sadly, our rain shower was faulty) – and Lorenzo Villoresi Firenze toiletries.

While the Address Beach Resort is situated on the strip of The Beach in Jumeirah Beach Residence, the extent of the hotel’s facilities may for some make venturing out unnecessary.

Our inclusive breakfast was a hot and cold buffet at the all-day dining restaurant that opened up to the resort’s private pools and beach area. The only drawback was although the beach was security patrolled and just for hotel guests, a public footpath ran through the middle of it.

The resort offers different room types – mainly marina or sea view – and includes an exclusive two-bedroom panoramic suite, and three-bedroom presidential suite. (Supplied)

However, those wanting more privacy could opt for the infinity pool on the 77th floor – open to adults only. Unfortunately, our visit came just prior to the pool and its adjacent Asian fusion restaurant, Zeta Seventy Seven, opening to the public.

The hotel recently made headlines after receiving Guinness World Record titles for highest outdoor infinity pool in a building, and highest occupiable skybridge floor. And the pictures make it look quite special.

The smart casual Li’Brasil is located on the ground floor and has a relaxing outdoor area. (Supplied)

For more views, another great and unlikely observation point was the fitness center on the 75th floor, where watching the world pass by below sure beat looking at the treadmill’s TV screen.

For niche dining, we discovered the smart casual Li’Brasil, located on the ground floor and with a relaxing outdoor area. We shared plates of black bean dip, cheese cigars, coffee-rubbed beef fillet, and mixed marinated seafood with black rice. During our visit, the restaurant was hosting the birthday of a well-known Egyptian film director, an event attended by quite a few familiar faces. It certainly represented a marker of a hotspot.

The Address Beach Resort definitely offers more highlights than lowlights, but the building’s design can sometimes mean rather too many, at times slow, elevator trips. And now that Zeta Seventy Seven has opened, how will those who have just finished a workout feel about sharing a lift with well-dressed diners? Perhaps the perfect excuse to skip the gym.