Was Lebanese singer Elissa just cast in Netflix’s ‘La Casa De Papel’?

The show, also known as “Money Heist,” is about a daring heist. (Getty)
Updated 28 August 2019

Was Lebanese singer Elissa just cast in Netflix’s ‘La Casa De Papel’?

DUBAI: Lebanese singer Elissa took to social media to share a gift hamper sent to her by the team behind hugely popular Spanish Netflix original “La Casa De Papel” this week, sparking rumors that she is joining the show.

The package included one of show’s infamous Salvador Dali masks and a red card with a personalized message that read, “The third season's ending left the professor broken and you surprised. But have hope, because the fourth season will make you the happiest. To the queen of emotions, or whom we now call Beirut.” 

The star wrote to her 13.9 million followers, “I am ready to be part of the gang with the professor and the team! Thank you @NetflixMENA and @lacasadepapel. Nairobi, we’re coming to save you.
Love, Beirut!”

The Netflix Mena account replied to her video saying, “Beirut, the time is yours! Welcome aboard,” echoing the show’s use of city names for each of the characters.

The show, also known as “Money Heist,” is about a daring heist.

Since its launch in May 2017, “Le Casa de Papel” has become the most-watched non-English language series in Netflix’s history.

In July, Elissa told fans that she would be spending her evening binge watching the show. She tweeted, “Spending the night watching La Casa De Papel season 3 on Netflix. If you were with the professor, which city would you name yourself after in the gang? I would definitely go for Beirut! Suits me, no?”

The show’s Twitter account account replied, “Beirut sounds great.”

The 46-year-old star recently made headlines when she announced on Twitter that her next album will be her last, explaining that she cannot be productive in a “mafia-like” field.

“I am preparing this new album with a lot of love and passion. The reason is that it will be the last one in my career. I am announcing this with a heavy heart but with a lot of conviction because I can’t work in a field that is similar to mafias. I can’t be productive anymore,” she said. 

So, is she joining the Netflix team? Some fans think it’s all a joke, but here’s to hoping we will see the pop superstar trade in her microphone for a stint on the screen.


 “We Are All Things”: An ode to lost love 

"We Are All Things" by Elliot Colla. (Supplied)
Updated 29 January 2020

 “We Are All Things”: An ode to lost love 

CHICAGO: In a room in Cairo, a man sits alone surrounded by items that fill his house. His relationship has just ended and, as he laments, he doesn’t realize that he isn’t the only witness to his latest tragedy. The objects in his house that he interacts with every day but pays little attention to, all watch on as the remnants of moments fade away from the room but remain imprinted in them. In “We Are All Things,” a graphic prose poem written by Elliott Colla and illustrated by Ganzeer, ordinary objects are brought to life with their own opinions, memories, and quirks.

The first image is of a black lamp with a pink shade which illuminates the room as it “soaks up the shapes and colors of the rest of the room and wears them as a funhouse reflection.” Colla’s words and Ganzeer’s pink and black illustrations jolt awake objects to tell their side of the tale.

Each object has a special personality, the bed that harbors not only humans but also the weevils that have eaten away the cotton in the pillows. A stereo that plays Umm Kulthum’s voice from a cassette tape, her pink figure in the middle of the page passionately singing of a longing that has repeated itself in the room countless times. The oldest object is a mirror, which not only sees things but keeps images and memories, making the room seem as if it is “full of ghostly reflections and optical echoes.”

Colla’s words ignite everyday objects, giving them spirited personalities, such as the clock that must endure “obscure comments” about itself, such as: “Time standing still. Time flying. A stitch in time,” while it holds time together with its “wires, coils, and levers.” Ganzeer’s illustrations capture the moments and objects so intricately in a charmingly unique atmosphere created by a collaboration that is peculiarly delightful.

Ganzeer and Colla push readers to think beyond existence to where secrets can be held by the objects in their lives in this remarkable chapbook. Molly Crabapple sums up the book perfectly in the introduction: “This is Elliott Colla and Ganzeer’s nostalgic ode to a lost love in a city that for the last two millennium has been the focus of every variety of love, longing, and loss.”