Jennifer Lopez celebrates wedding in Zuhair Murad gown

Jennifer Lopez and Ben Affleck attend a special screening of the film
Jennifer Lopez and Ben Affleck attend a special screening of the film "Marry Me" at the Directors Guild of America in Los Angeles, California, U.S., February 8, 2022. (REUTERS)
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Updated 21 July 2022

Jennifer Lopez celebrates wedding in Zuhair Murad gown

Jennifer Lopez celebrates wedding in Zuhair Murad gown
  • A marriage license was obtained in their name from Clark County dated Saturday, July 16, according to document details posted online by the county clerk’s office

DUBAI: Singer Jennifer Lopez and actor Ben Affleck have married in Las Vegas, media reported on Sunday, after the celebrity couple rekindled a romance almost 20 years after they first got together.

Lopez wore two gowns on the big day, and revealed in a newsletter to her fans that the second look was by Lebanese couturier Zuhair Murad, whom she has worked with on a number of occasions.

Lopez’s dress featured long sleeves with a sweetheart neckline. It also boasted a corset bodice and a long train, along with a veil trimmed with lace.

 
 
 
 

 
 
 
 
 
 
 
 
 
 
 

A post shared by Rob Zangardi (@robzangardi)

The couple announced their matrimony in a newsletter from Lopez revealing that they flew to the desert city in Nevada to gain a marriage license and wed at a chapel late Saturday, according to People Magazine.

“Love is beautiful. Love is kind. And it turns out love is patient. Twenty years patient. Exactly what we wanted,” Lopez said in the newsletter, the outlet reported.

The newsletter was signed “Mrs. Jennifer Lynn Affleck,” The Los Angeles Times reported, denoting a name change for the award-winning entertainer.

A representative for Affleck could not immediately be reached for comment. Phones rang unanswered at Lopez’s talent agency Creative Artists Agency.

A marriage license was obtained in their name from Clark County dated Saturday, July 16, according to document details posted online by the county clerk’s office.

Lopez posted a photo on social media depicting her in a bed while sporting a silver wedding ring.

Affleck and Lopez, a glamorous duo widely known as “Bennifer,” got back together last year after almost 20 years. They got engaged in April of this year.

In 2002 Affleck gave Lopez a large 6.1-carat pink diamond engagement ring, but they abruptly called off their wedding in 2003 and split up a few months later.

Reuters contributed to this report.  


Saudi model Amira Al-Zuhair talks Paris catwalks and London student life

Saudi model Amira Al-Zuhair talks Paris catwalks and London student life
Updated 33 min 13 sec ago

Saudi model Amira Al-Zuhair talks Paris catwalks and London student life

Saudi model Amira Al-Zuhair talks Paris catwalks and London student life
  • The in-demand model is killing it on the catwalk and in the classroom

DUBAI: It’s been a breakout year for 21-year-old Saudi model Amira Al-Zuhair. At last month’s Paris Haute Couture Week, she walked the runway for some of the world’s most renowned couturiers, including Lebanese designer Georges Hobeika and Giorgio Armani, attracting international headlines. A couple of weeks before that, she picked up her Bachelor’s degree (with first-class honors) in philosophy, politics, and economics from King’s College, London. 

Al-Zuhair signed to the prestigious Elite Model Management agency aged just 15. “I was having lunch with my family at a restaurant in Paris, and I was spotted by a former Elite agent who told me I should go to the agency and that they’d really like me. So I went, and within 10 minutes I got a contract, which was pretty surreal,” Al-Zuhair tells Arab News. 

Amira Al-Zuhair backstage prior to the Alexis Mabille Haute Couture Fall Winter 22-23 show as part of Paris Fashion Week on July 5, 2022. (Getty Images)

But she didn’t become a model full-time until she was 18. Instead, she had a gradual introduction to the industry with test shoots and editorials.

“School and my education have been a top priority,” she explains. “I’ve always been a bit of a nerd — I represented my school in national math competitions, I was head of the math team, and a member of the UK’s Youth Parliament. And then I focused on my degree. It’s still my goal today to become a lawyer.”

Al-Zuhair was born in Paris to a French mother and Saudi father. She was raised in London, however (“My father wanted me to follow his steps and graduate from a UK university,” she says). The family traveled frequently between the UK and Riyadh, so Al-Zuhair feels a strong cultural and emotional attachment to the Kingdom. 

Al-Zuhair walks the runway during the Alexis Mabille Haute Couture Fall-Winter 22-23 show at Paris Fashion Week. (Getty Images)

“I love Saudi. It’s a big part of who I am and I really appreciate everything that’s going on at the moment — the advancements in culture, education, economy, and infrastructure,” she says. “The current leadership has done an amazing job at putting the country at the forefront of the global stage, and I’m really proud to see these changes.”

Although Al-Zuhair grew up in Europe, she says she was raised with “traditional values” and that her religion is very dear to her. From the get-go, she was clear about what she would, or wouldn’t, be prepared to do as a model. 

“I think the industry is very accommodating,” she says. “It’s all about what boundaries you set. My agency is amazing – and these boundaries have been respected with all aspects of my work and with all my clients. I’ve been very fortunate to have a very good experience.”

Amira Al-Zuhair (third from right, front row) backstage at the George Hobeika show in Paris Haute Couture Week with Georges Hobeika and his son Jad. (Getty Images)

Paris Haute Couture Week was a triumph for Al-Zuhair — if you ignore the time that some guy on a bike tried unsuccessfully to steal her vintage purse. In the same month, she was also part of Dolce & Gabbana’s monumental show in Sicily, where the label celebrated 10 years of its Alta Moda line. Wearing a black habit and black dress with sheer panels, she was an absolute vision on the runway situated in the historic Piazza Duomo in Siracusa.

Al-Zuhair has also worked with some of the industry’s biggest names in the form of ad campaigns and editorials, including Tiffany & Co, Burberry, and Carolina Herrera. In 2020, she landed her first Vogue Arabia cover, attracting widespread praise. 

“It was shot in NEOM, and we were the first group to shoot there,” she says. “It was such an exhilarating experience because I discovered a whole new side of Saudi Arabia. It’s just one of the most beautiful landscapes I’ve ever seen — the sea, the mountains, the land — you cannot get sick of the views. We had lots of trailers in the middle of the desert; it kind of felt like a movie set. I also got to meet lots of local Saudi production members and stylists. It was so nice to have that representation.”

Al-Zuhair walking for Alexis Mabille at Paris Haute Couture Week on July 5. (Getty Images)

Juggling a demanding modeling career and a full-time university course was no easy feat. “That that was one of the most difficult aspects — the balance. It requires a lot of discipline and good time-management because every second counts. Every day I had to study, exercise, eat, go to university and see my family. There weren’t enough hours. Once, I went to Milan for work, and within 48 hours I’d been in five different cities and four countries.” 

Al-Zuhair shows no signs of slowing down, though. She’s already applying to universities to continue her education and it’s clear that her modeling career is on a steep upward trajectory, with labels and brands clamoring to work with her. It seems that she’ll grab as many opportunities as possible.

“With each show you get a different atmosphere, mood and energy. There’s a different inspiration behind each collection, and that’s reflected in the clothes and the we way act and walk. I’m very grateful for all the opportunities that I’ve been given and to all of these designers for trusting me. It’s a big responsibility,” she says. “I see the work that goes into it behind the scenes, and it’s a very emotional experience. To me, fashion is an art and a form of self-expression. I’m honored to be able to present these collections and their designers’ works of art to the world.”


Cairo’s ‘Summer Portfolio’ photography show examines Egypt’s past and present

Cairo’s ‘Summer Portfolio’ photography show examines Egypt’s past and present
Updated 35 min 52 sec ago

Cairo’s ‘Summer Portfolio’ photography show examines Egypt’s past and present

Cairo’s ‘Summer Portfolio’ photography show examines Egypt’s past and present
  • From Cairo to Brooklyn, photographic consultancy Tintera aims to bring together global photographers

CAIRO: In an apartment block in Zamalek — Cairo’s affluent western district where heritage buildings whisk visitors back to the Egyptian capital’s grand past — is a surprising find: A white-walled gallery and consultancy called Tintera, which specializes in photography of Egypt by Egyptians and foreigners. It was established in 2019 by Heba Farid and Zein Khalifa, with the aim of raising the profile of both contemporary and historical photography of Egypt. 

“Photography’s power is in documenting our lives, conceptually as well as through documentary approaches,” Farid tells Arab News. “As certain images of Egypt are ever-present in the global collective memory — images of monuments and conflict tend to be what remain — our mission is to be a destination where an alternative image of Egypt emerges.”

Amina Kadous, ‘City Entrapped.’ (Supplied)

When photography first started to become widely popular in the 19th century CE, photographers from around the world travelled to Egypt to capture not just the country’s multitude of ancient monuments, but, as Farid says, “its abundance of light.” 

“Tintera is committed to elevating the status and value of fine art photography in Egypt,” Khalifa says. “We are exporting ‘another Egypt’ and, while doing so, building a strong collectors’ base, drawing the attention of curators, and engaging specialized and general audiences alike.”

Tintera’s “Summer Portfolio” show is an example of the founder’s aims, presenting works from their roster of more than 20 artists. 
In the main exhibition area, a large collection of portfolio boxes are on display alongside many framed or matted prints. Visitors are invited to handle the prints directly (with the provided gloves, of course) and there is a thin hanging rail installed so that they can curate their own selections. Such an intimate handling of fine-art photography is a rare treat that truly enhances the viewing experience. 

Each photographer’s work presents a different view and experience of Egypt and its people. Highlights include works by Amina Kadous, an award-winning Egyptian photographer with a background in visual art. In her ongoing series “City Entrapped” she explores how portraits of iconic Egyptian public figures, such as Presidents Sadat and Nasser, still exist in many public spaces. 

For Kadous, Cairo is a city that is always in constant change yet somehow stays the same. 
“A city trapped in its own past and stretching to an unknown future. Cairo, a city of icons that is itself iconic,” Kadous writes on her website. “I see through these breaths and gasps of time, endlessly in flux and endlessly in chaos. A city where the only thing that is constant is change.”

Nermine Hammam — an established visual artist with a background in film — employs her signature technique of digital manipulation, hand coloring and layering of images on a collection of black and white vernacular photographs taken on the beaches of Alexandria in “A’aru,” a series named for the ancient Egyptian concept of the afterlife. But, the Tintera founders explain in an article on Hamman’s website, here the artist “inverts” the concept. “Rather than it being an idyllic world yet to come, Hammam shows us a once-almost-perfect world on the brink of destruction. For Hammam, this … is the Alexandria of her past … a place of perceived innocence.”

Anthony Hamboussi, ‘Sharat il-Nil,’ from 15 Mayo Bridge, Agouza, Giza Governorate, Cairo Ring Road, 2014. (Supplied)

Egyptian Brooklyn-based photographer Anthony Hamboussi is one of the latest additions to the Tintera roster. In his series “Ring Road,” he examines the contemporary urban landscape of Cairo and neighboring areas which have morphed over the past century because of uncontrolled urban growth. His evocative photographs show how poor planning and mismanagement of heritage sites have put the city’s historic significance into a state of crisis.

The emerging Egyptian visual artist Maria Saba strikes a more intimate note in her “Urban Jungle” series, which captures the artist in a variety of poses in public urban spaces in Egypt and France, allowing her to examine issues relating to identity and place in the two countries and cultures in which she lives. The black-and-white photographs are nostalgic, melancholic and haunting; Saba seems to be searching for herself in the midst of these sprawling ever-changing urban landscapes. 

Tintera’s “Summer Portfolio” show runs until September 7 at the gallery.


What We Are Playing Today: Award-winning co-op game 'It Takes Two'

What We Are Playing Today: Award-winning co-op game 'It Takes Two'
Updated 42 min 17 sec ago

What We Are Playing Today: Award-winning co-op game 'It Takes Two'

What We Are Playing Today: Award-winning co-op game 'It Takes Two'
  • The award-winning production was released for Microsoft Windows, PlayStation 4 and 5, Xbox One, and Xbox Series X/S in March 2021

Married life can be hard; sometimes couples must cooperate to solve their problems. They need to know when to be firm or relent, so it takes two to make the relationship work.

This is exactly the aim of the action-adventure platform “It Takes Two”, which was created by Hazelight Studios and released by Electronic arts.

The story centers on a couple Cody and May who are seemingly incompatible and plan to divorce. They break the news to their daughter Rose late in the afternoon.

Rose then goes upstairs to her room and using two handmade dolls that resemble her parents, acts out a scene where they reconcile.

Rose’s tears, however, magically transfer the souls of her parents into these two dolls, who are now trapped and desperate to return to their bodies. In order to do that, they are forced to work together. 

The production was awarded The Game Award for Game of the Year 2021. It was released for Microsoft Windows, PlayStation 4 and 5, Xbox One, and Xbox Series X/S in March 2021.

“It Takes Two” has top-notch graphics, with many details for surfaces and a rotating view. You can move the camera angles around and explore the environment.

It is a multiplayer video game and does not have a single-player option.


Filmmaker Jordan Peele talks ‘Nope,’ ahead of the sci-fi thriller’s Mideast release

Filmmaker Jordan Peele talks ‘Nope,’ ahead of the sci-fi thriller’s Mideast release
Updated 18 August 2022

Filmmaker Jordan Peele talks ‘Nope,’ ahead of the sci-fi thriller’s Mideast release

Filmmaker Jordan Peele talks ‘Nope,’ ahead of the sci-fi thriller’s Mideast release
  • ‘Get Out’ director says his toughest project to date
  • Social commentary expected with horror, comedy elements

DUBAI: Filmmaker Jordan Peele, who broke out with his directorial debut “Get Out,” is pushing his own limits with his latest film, “Nope.”

The director says his goal with the sci-fi thriller was to write a movie that was impossible to make. The stars are calling the result a spectacular, mind-bending production and connecting Peele’s talent for horror with his background in comedy.

“This was one of, if not, the greatest challenge of my life — making this film. I think what started as a movie that was all about a certain dark notion, as I was making it and writing it, I had this feeling that it also had to represent joy and had to represent Black joy,” said Peele to Arab News.

The movie follows a brother and sister (played by Daniel Kaluuya and Keke Palmer) who, after their father’s unexplainable death, try to capture proof that a flying saucer is menacing their town.

The film has been confirmed as Peele’s most expensive production, with Forbes speculating a $40 million cost, nearly 10 times that of his debut, “Get Out.”

Kaluuya, who was the lead star of “Get Out” and plays O.J. Haywood in “Nope,” said: “It’s just bigger and he’s grown as a filmmaker, so it’s just amazing to see that.”

“He can understand what’s happening and make choices and make decisions and troubleshoot. Yeah, but there’s always this part of him that’s wide open to letting the film surprise him,” said actor Steven Yeun, who plays Ricky “Jupe" Park, in the film.

Story details are being kept secret, but audiences can expect layers of social commentary between the thrills and chills, with Peele already hinting that “Nope” explores themes of commercial exploitation and the increased visibility of people of color in Hollywood.

“Putting people of color in the leads and the subject matter not always having to do with black versus oppression. It’s just black leads, black perspective, stories and culture,” said Palmer, who stars as Emerald Haywood in “Nope.”

“I want something that’s going to give you a fun experience and an adventure. And at the end, I want you to have to talk about it,” said Peele.


Inside ‘House of the Dragon,’ this year’s most eagerly anticipated show

Inside ‘House of the Dragon,’ this year’s most eagerly anticipated show
Updated 18 August 2022

Inside ‘House of the Dragon,’ this year’s most eagerly anticipated show

Inside ‘House of the Dragon,’ this year’s most eagerly anticipated show
  • Can the ‘Game of Thrones’ prequel emulate its extraordinary success?

DUBAI: Few television shows (or films, or any other kind of media) have had as great a cultural impact as “Game of Thrones.” Throughout its eight-year run, which began in 2011, the sprawling fantasy series based on George R.R. Martin’s books gripped audiences across the globe (for reasons both positive and negative) and its influence is still felt across television and film. Now, just over three years after its last episode aired, HBO has finally readied a follow up its most-popular series: “House of the Dragon” — a prequel set hundreds of years earlier, which premieres on OSN in the Middle East on August 22.

The world has changed, however. When “Game of Thrones” debuted, there was nothing like it. For many, the series was the first piece of fantasy that enraptured them — propulsive, riveting and uncompromising storytelling that eased viewers into the existence of ice monsters and dragons. A decade on, there has been a litany of direct imitators, none of which has come close to emulating its success. So why should this one?

Emma D'Arcy and Matt Smith in 'House of the Dragon.' (HBO)

“There have been many attempts to capture the ‘Game of Thrones’ magic,” says “House of the Dragon” co-creator and co-showrunner Ryan J Condal. “And many shows that have done only one or two seasons, and that’s it. There’s clearly a pattern of people wanting something like ‘Game of Thrones,’ but [the imitators] had to make it different. We’re lucky in the respect that we don’t have that problem. The more ‘Game of Thrones’ we are, the better.”

“House of the Dragon” should not be seen simply as a carbon copy of its predecessor, though. “Game of Thrones” had dozens of major characters, with the two major ones — Daenerys Targaryen and Aegon Targaryen (who believed himself to be Jon Snow for most of it) — not even meeting until near the end. “House of the Dragon” is far more zoomed in, centering on four characters from that same Targaryen family — a mercurial bunch with pale white hair and dragon’s blood in their veins — 200 years prior to the birth of Daenerys.

The central conceit is, however, pure “GoT.” A peacetime king — Viserys I Targaryen (Paddy Considine) — is unable to produce a male heir, leaving his hot-headed and unpredictable brother Prince Daemon as his most likely successor. Viserys, however, has other plans, thinking that perhaps his daughter, Princess Rhaenyra (played by Emma D’Arcy as an adult, Milly Alcock as a teen) could become the kingdom’s first queen. Her best friend, Lady Alicent Hightower (Olivia Cooke as an adult, Emily Carey as a teen), however, seems to have her eyes on the king herself.

Olivia Cooke as Lady Alicent. (HBO)

“I think the thing that made it so interesting to us is the idea that you get to explore the Targaryens as a dynasty and as a family instead of basically just one person. (We) get to show you what Westeros was like when the Targaryens were at height of their power and influence, when they had 17 dragons to discourage other houses from raising a challenge to the throne. And we see a broad spectrum of different Targaryen people — princes and princesses, firstborns and second-borns — who all have their own internal life and wants and needs and identity,” says co-showrunner Miguel Sapochnik.

“What you realize is: This is just like any other family,” he continues. “It’s made up of a complex range of people who will all react to things in a different way. There isn’t a Targaryen archetype. There’s nature and nurture involved — how they develop as people and how they react to different things. They’re all real, complex people with gray in their souls, and that’s why people tune in from week to week, to follow these, hopefully, deeply interesting and compelling characters.”

Leading the pack is Paddy Considine, an actor who has put in some of the finest, if under-heralded, performances in recent history, including 2003’s “In America,” 2004’s “Dead Man’s Shoes” and 2010’s “Submarine,” and is finally given the major role he’s always deserved — something that the creators of the show saw before he did.

Paddy Considine as King Viserys. (HBO)

“I was the first actor cast in it, which was a massive leap of faith on the part of Miguel and Ryan and HBO. The fact that I didn’t even have to audition was a big gamble, really. Because I’ve a cynical side, my first question was, ‘Well, who’s turned it down? Who doesn’t want to do it?’ And they said, ‘Nobody. It’s yours. We’re coming straight to you.’ And that’s a good way to get me in, because I was very flattered by that, I was really honored. Truthfully, I was,” says Considine.

Matt Smith, who has already found huge success for his runs as both the lead in BBC stalwart “Doctor Who” and Prince Philip in the first two seasons of Netflix smash “The Crown,” comes in as the show’s most recognizable star, with his trademark charisma on full display as the brash and brilliant Daemon.

“I loved his unpredictability,” Smith says. “That was one of the things that really drew me to Daemon in the first place. You never quite know where he’s going to go, even as an actor. That affords you a great deal of invention and allows you to play. It’s nice when you’re an actor and you don’t quite know where the scene’s going to take you. I really loved it. I had such a good time.”

Ryan J Condal is the co-creator and co-showrunner of “House of the Dragon.” (HBO)

Smith may have been having fun, but the shoot was grueling. It began in April 2021 and didn’t wrap until February 2022, filming across the UK, Spain and California.

“Nothing prepares you for the shooting. I walked in with my shoulders back and head high. A year later, I crawled out on my belly,” says Considine.

“Game of Thrones,” of course, was a show with massively popular female characters, an aspect that kept it relevant as the cultural paradigm shifted, with Danaerys Targaryen becoming a symbol of empowered women the world over. “House of the Dragon” takes that baton and runs with it, focusing first and foremost on its lead women characters, Princess Rhaenyra and Lady Alicent.

For the show’s female stars, getting on the same page with the showrunners over how women would be portrayed in the violent and sexist world in which it’s set was of paramount importance from day one.

Milly Alcock (left) and Emily Carey. (HBO)

“Both Olivia and I started speaking with Miguel Sapochnik really early,” says D’Arcy. “One of the questions that I came into the show with was: ‘How do you make sure you are telling a story from their point of view, when we are in a world that doesn’t afford them space?’”

The conversations went better than they expected, the two stars reveal.

“Miguel was incredibly receptive and really generous on all of that. He gave us the space to explore these characters,” Cooke says.

“Fundamentally, Miguel is really aware that he’s not a woman,” D’Arcy adds. “He was very willing to defer to us, if something came up in the text. If you have a question, you have every right to interrogate that. It’s been a collaborative process.”