In the Iron Throne’s shadow: Arabs reflect on ‘Game of Thrones’ 10 years on

‘Game of Thrones’ topped the lists of most illegally viewed shows online, as many fans couldn’t afford or gain access to HBO’s streaming services.
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Updated 17 April 2021
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In the Iron Throne’s shadow: Arabs reflect on ‘Game of Thrones’ 10 years on

  • Middle Eastern fans look back on 10 years of a show that changed pop culture forever

RIYADH: Whether you loved it or hated it, followed it casually or watched every episode twice, chances are you’ve at least heard of the HBO smash hit series “Game of Thrones.” The eight-season fantasy epic, which began 10 years ago today, has secured its place in pop culture history as one of the most famous TV shows of all time.

The adaptation of George R. R. Martin’s A Song of Ice and Fire novels, the show began on April 17, 2011, to an audience of eager fans. Over the course of its run, the show has garnered 160 Emmy nominations, taking home 59 of them, making it one of the most successful shows in history.

Najla Hussam, an avid fantasy fan who cited Martin as one of her favorite authors, told Arab News that the show provided a way for her to bond with her father, who started reading A Song of Ice and Fire when the first volume was published in 1996.

“My dad tried for years to get me to read the novels, but I honestly just wasn’t that interested. When the TV series first came out, he asked me to watch the first season with him to see if he could get me to change my mind about it. I was hooked instantly, and once the season was over, I borrowed all the books from him so we could discuss our theories about how the future of the show might look,” she said.

The show has also gained notoriety for other reasons. Due to its exclusivity of being shown on the HBO network, the show is also famous for being the most pirated TV series of all time. Consistently throughout its run, Game of Thrones topped the lists of most illegally viewed shows online, as many fans couldn’t afford or gain access internationally to HBO’s viewing and streaming services.

In the MENA region, the show was broadcast on the Orbit Showtime Network (OSN), with previous seasons being made available via the network’s on-demand service, OSN Play. Leading up to the start of season 7, OSN launched a 24-hour binge-watching channel, with all of the previous seasons being made available.

However, in the Arab world, the show saw a lot of pirating activity for another, unusual reason; the OSN network broadcast the show in its full, uncensored version, which caused a lot of fans to hunt online for a version that removed or glossed over some of the more controversial themes.

Danya Assad, a 30-year old viewer from Riyadh, said that she only started watching the series around the start of the fourth season in 2013. She was only able to get into the fandom around the time censored episodes started to become available online.

“I heard about a Game of Thrones group online made up of fans who volunteered to censor some of the more unsavory content, and that was how I was able to start watching,” she said. “I loved the premise of the show, I’m a huge fan of fantasy television and I was definitely interested in watching, but the amount of sexual content and other disturbing themes really put me off.”

Assad said that while some fans might argue that she didn’t get the “authentic” experience of watching the show, she feels much more comfortable knowing that she was able to bypass the more controversial themes and still manage to enjoy the show.

“I loved Game of Thrones because of the political intrigue, for the richness and depth of the lore and the history, because of the unexpected plot twists like the Red Wedding, for things such as the fashion and the set dressing. By removing the gratuitous sexual content and some of the more violent scenes, I don’t think I missed out on much,” she said.




A man stands atop the ancient fortress of Ait-ben-Haddou, where scenes depicting the fictional city of Yunkai from ‘Game of Thrones’ were filmed. (Getty Images)

The show has seen its fair share of controversy over the past decade. Despite the accolades heaped on the show, the amount of violence portrayed in the series, including the deaths of many innocents and children, the sexual content, and heavy themes such as incest and rape, have drawn much ire from fans and critics alike.

“I couldn’t make it past the first few episodes, honestly,” Talal Ashour, another Saudi fantasy fan, said. “I can understand the appeal, but to me Game of Thrones just crossed way too many boundaries. It’s a beautifully crafted show, and I’m still amazed by certain aspects of it, like the CGI dragons or the fact that they created a whole new language for the Dothraki, but I couldn’t get passed the darker aspects of the show.”

But perhaps the biggest let-down for fans of the series was the ending, which many fans believe was a massive disappointment and a departure from the grandeur of the previous seasons.

“Game of Thrones ended for me after Season 7,” Hussam said. “The more they started to deviate from the books, the less I started to enjoy it. I think the writers did fine when they had more content from the original books to work with, but once they started doing their own thing, it all just went downhill.”

Martin, notorious among fans for being slow to produce new novels, published the latest book in A Song of Ice and Fire in 2011, the same year the show began. Martin told the press at the time that the novel had taken six years to write, and that a sixth novel out of a planned seven, “The Winds of Winter,” was still in the works.

“I think the writers thought they could go off what they had and that the sixth book would be out by the time the series caught up,” Assad said. “It’s such a shame that they couldn’t or wouldn’t delay the series until the book came out. A lot of fans were unhappy with the way the series ended. I feel like we deserved better.”

Assad is not alone in that. A change.org petition appealing to HBO with a request to remake the final season with “competent writers” began circulating online the day the final episode debuted, with almost 2 million people signing and the numbers still increasing two years later.

However, despite the controversies and the overall disappointment with the way the series ended, the show has retained a strong fanbase in the Middle East.

“I had a Game of Thrones-themed birthday party in 2019,” Hussam said. “I dressed up as Daenerys, all of my friends came in costume, and my cake was a replica of the box that held Dany’s dragon eggs in it, including three edible cake eggs. It’s the best birthday I’ve ever had.”

“I don’t think one bad season can ruin the whole series,” said Assad. “Even if the ending was disappointing, the other seasons are still incredible to behold. Maybe in time I’ll be able to go back and watch the show and enjoy it even more. And if the ending still disappoints me after the second time, I can always hold out hope for ‘The Winds of Winter.’”


He tries and triumphs: John Achkar’s ‘AAM JARRIB’ scores big in Abu Dhabi

Updated 02 June 2025
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He tries and triumphs: John Achkar’s ‘AAM JARRIB’ scores big in Abu Dhabi

ABU DHABI: Lebanese comedian John Achkar, who is on a world tour, touched down in the UAE capital on Sunday night as part of Abu Dhabi Comedy Season.

Achkar performed his latest special, “AAM JARRIB” (“Trying” in English), before upcoming stops in London, Paris and Sydney on a tour that wraps up in October.

“John has been trying new things for 34 years, and he’s still trying,” his grandmother sang in a video that opened the show.

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

A post shared by John Achkar (@johnachr)

At 34, Achkar claims he does not like trying new things — but as the show unfolds, it is clear he excels at turning the discomfort and quiet fulfillment of those rare efforts into comedy gold.

He paces the stage, piecing together absurd real-life misadventures — a botched sailing trip or an outrageously inappropriate skydiving incident — into hilarious anecdotes.

At one point, Achkar calls out what he jokingly dubs a modern epidemic — ADHD — which he says has become a socially accepted excuse to dodge plans. Fittingly, his performance is a whirlwind of energy: Fast-paced, delightfully chaotic and entirely on brand.

True to form, Achkar’s commentary on Lebanon is bold but affectionate. He jokes that almost every restaurant blasts the internet-famous patriotic anthem “Lebanon Will Return,” even as the country teeters on the edge of war. The satire is sharp, never cynical.

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

A post shared by John Achkar (@johnachr)

Behind him, a detailed sketch of the Lebanese coastline hangs throughout the performance — a quiet yet unmistakable tribute to his identity.

The show ended on the perfect note as the same anthem he mocked earlier blasted through the speakers, with the crowd bursting into applause and laughter — a full-circle moment.

In “AAM JARRIB,” John Achkar does not just try — he soars. And the audience, just as energized as he is, soars with him.


Gigi Hadid marks launch of Havaianas line with new campaign

Updated 01 June 2025
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Gigi Hadid marks launch of Havaianas line with new campaign

DUBAI: US Palestinian Dutch supermodel Gigi Hadid has unveiled a new campaign with Brazilian footwear brand Havaianas.

The model, who launched a line with the flip flop label, stars in a vintage-inspired series of photographs. In the shots, she shows off slippers from her collection with the brand and is seen wearing retro outfits on a beach.

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

A post shared by Havaianas (@havaianas)

Hadid celebrated the launch at a party in Altro Paradiso in New York last week.  At the event, she wore flip flops paired with a white tweed Marc Jacobs minidress, featuring vibrant scattered crystals.

The model is no stranger to making creative decisions and is also the founder of her own cashmere brand, Guest in Residence.

She launched her clothing label, which features soft, colorful knitwear, in September 2022.

“Over the last handful of years, I didn’t want to be backed into starting my own line just because there was an offer on the table or a deal to be made,” she wrote to her followers on Instagram at the time.

“The earliest days of Guest in Residence came about when I started to question the cashmere market, and those answers gave me a path,” she wrote.

“I believe that because of its sustainable qualities — natural and made to cherish and to pass down — cashmere is a luxury that should be more accessible.”

Earlier this year, Hadid celebrated her birthday party at Le Chalet in New York City.

Hadid entered the venue with her partner, Oscar nominee Bradley Cooper on April 25, and met up with her sister Bella Hadid, mother Yolanda Hadid, father Mohamed Hadid, Russian media personality Keni Silva and US actress Anne Hathaway, among others.

Gigi’s birthday was on April 23, and the internet was abuzz with celebrities, designers, family and friends who sent birthday wishes to the supermodel as she turned 30.

 


Nayla Al-Khaja reflects on new film ‘BAAB’ and Canon collaboration

Updated 01 June 2025
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Nayla Al-Khaja reflects on new film ‘BAAB’ and Canon collaboration

  • The director a is frequent guest at the Cannes Film Festival and partnered with Oscar winning Indian musical composer and record producer A. R. Rahman on the score for her latest film
  • Her previous feature “Three” played at Saudi Arabia’s Red Sea International Film Festival and the Shanghai International Film Festival

DUBAI: UAE filmmaker Nayla Al-Khaja, a pioneering voice in Emirati cinema, has wrapped production on her second feature film, “BAAB,” and is also taking part in a renewed partnership with Canon Middle East as part of the brand’s “See No Limits” campaign.

In a conversation following the film’s completion, Al-Khaja told Arab News “BAAB,” set for release after the summer, marks a creative milestone in her career. 

“It really feels like I found a language I enjoy in filmmaking,  like my own artistic voice,” she said, highlighting its striking visual style and deeply immersive atmosphere. Compared to her debut feature “Three,” she described “BAAB” as a significant evolution in her storytelling and visual approach.

“Haunted by a mysterious rhythm after her twin sister's death, Wahida's journey to find answers pulls her deep into the mountains. As she unravels her grief, she descends into madness, blurring the line between reality and imagination,” the logline of the film reads.

Her previous feature “Three” played at Saudi Arabia’s Red Sea International Film Festival and the Shanghai International Film Festival. She is also a frequent guest at the Cannes Film Festival and partnered with Oscar winning Indian musical composer and record producer A. R. Rahman on the score for her latest film.

Al-Khaja continues to work in psychological horror, drawn to its emotional impact and the technical challenge of filming in low light. “You feel like you are pulled like a magnet, pulled into a very ethereal, very haunting world… it is just so visually beautiful,” she said.

The director is also working with Japanese corporation Canon on educational initiatives aimed at emerging filmmakers. 

As part of the “See No Limits” campaign, she led a workshop for film students, emphasizing both the technical strengths of Canon’s EOS R5 Mark II and the importance of narrative-driven visual decisions. “Although you have the camera, if you don’t know how to position it in sense of what your story is trying to say… how far can you push your own limit?” she said.

Al-Khaja’s collaboration with Canon began in 2011. Their latest campaign focuses on empowering female filmmakers across the region. 

While she notes there are still only a handful of women working full-time in the UAE film industry, she sees growing momentum driven by regional grants, commissions and the demand for streaming content.

“When I started, I didn’t have a role model,” she said. “It is good to know that you now have an older generation that you can reach out to.” 


Review: ‘Doom: The Dark Ages’ sets new bar for first-person carnage

Updated 31 May 2025
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Review: ‘Doom: The Dark Ages’ sets new bar for first-person carnage

LONDON: The first “Doom” game back in 1993 helped define the first-person shooter genre, spawning numerous sequels and even a Hollywood film. Now it is back, and in a crowded market packed with chaotic shooters and arena brawlers, this game slices its way into the pantheon with style — and a spinning shield saw.

Boasting 22 adrenaline-soaked levels, “Doom: The Dark Ages” sticks to the classic formula of annihilating every enemy in the room before moving on. Yet it rarely pauses for breath, charging through its campaign. While there are secrets to uncover and collectible toys to find, it always feels hurried, pushing players forward with breakneck urgency.

Where it stands out is in its innovative combat tools — a shield saw that doubles as a melee weapon, a flail for crowd control, and a shield charge that turns defense into offense. Combat is fast, demanding, and utterly satisfying, especially in boss fights where success hinges on timing and picking the right attack for the enemy.

The gunplay is awesomely brutal and weapons evolve through Sentinel Shrines, letting players fine-tune their arsenal to match the rising difficulty. This isn't just a shooter; it’s a metal-fueled ballet of aggression, where being passive is punished and staying alive means staying angry.

The music? Pure heavy metal fury, matching the gameplay beat for beat. Visuals run at a crisp 60 frames per second and every environment drips with cosmic dread, from crumbling hellscapes to star-forged citadels. The new cosmic realm adds visual diversity, while massive set-pieces like dragon-riding with autocannons and piloting giant sentinels crank the spectacle to 11.

This is bone-crunching mayhem at its finest. It’s Halo-esque in scope, “Doom”-like in execution, but ultimately a beast of its own making.


Basmah Felemban unpacks memory, identity in Riyadh solo show ‘Vessel of Wreckage’

Updated 30 May 2025
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Basmah Felemban unpacks memory, identity in Riyadh solo show ‘Vessel of Wreckage’

RIYADH: Seasoned Saudi artist Basmah Felemban’s work will make you think. In her latest solo exhibition, “Vessel of Wreckage,” which runs at ATHR Gallery in Riyadh until June 26, she combines elements that many of us can relate to while being authentically, fully herself.  

“In the past five or six years, my practice has been really an investigation of my family roots from Indonesia and — kind of as a result of getting into sci-fi — to have some imaginary explanations of those reasons why they came from Indonesia to Saudi, because I failed at the factual research, really,” Felemban, who lives and works between London and Jeddah, tells Arab News. 

“When did my family move? This is one of the mysteries — part of the myth of the family. I have no idea. I’d say that my granddad came to Saudi for work, probably in the Seventies. But I’d learned that Felemban, our last name, comes from an island called Palembang, so in kindergarten I used to tell people I was a princess because I’m used to, like, the Al-Saud family and Saudi Arabia, so I thought since I’m Felemban from Palembang, I must be a princess.” 

Growing up, Felemban assumed that they had no Saudi relatives, until her brother serendipitously found out that they had cousins in town.  

“I realized, ‘Oh! We do have extended family here; we’re just not connected to them.’ And that’s also part of the myth and the lore of our family story. Once I realized that, it kind of clicked with me that our identities are really just a construct — it doesn’t really matter if they’re factual. I don’t think my family intentionally tried to lie. I think they believed this was the story.” 

All of this was part of Felemban’s world building.  

“I think, in Hejaz in general, people came from all over and there was this whole umbrella under which we wanted to identify as ‘Saudi’ for a lot of time. Like, if you speak to me about anything Indonesian, I would have no idea, because my family really assimilated,” she says, adding that she hopes to visit Indonesia soon.  

“I wouldn’t say I feel like I’m part of a diaspora, even if I am, factually. But I think Saudi is a very specific, special case in terms of identity. I feel like I’m more interested in the family story and why their connections are the way they are. 

“I didn’t grow up in an environment where ours was a weird story,” she adds. “Even my friends that are Bedouin are still also away from where they are from.” 

Here, Felemban talks us through several works from the show. 

‘Pulang (To Go Home)’ 

Photo: AN/Huda Bashatah

There are five ship windows looking out on five different topics that I researched, from facts to absurd sci-fi stories. They’re videos collected from YouTube — just rabbit holes I fell into. I really like to document my research and my notes, then my work grows like a mind map — I connect words and then try to connect concepts between those words and visuals. The first window starts with a propaganda documentary about the colonial history of Indonesia and its impact on folklore dances and music. Then a scene that a lot of my world is based on; Indonesian pilgrims reciting a religious song about the prophet. 

I realized that another connection between Indonesia and Saudi is catfish — another creature of myth. A few years ago, people realized that there’s a lot of huge catfish in Wadi Hanifa and they started to ask: How did they come here? I like that, as a myth. In Indonesia, the catfish is a really huge asset, but also has some negative connotations.  

‘Fish from the Ground’ 

This work talks about the catfish myth. They are an invasive species and tend to be really vicious and really quick to adapt, so in less than a couple of hundreds of years it was able to evolve from swimming to being able to ‘walk,’ almost on land. That’s likely where the term ‘catfishing’ comes from.  

‘Wave Catcher’ 

When I was approached by the Islamic Arts Biennale (in 2023), I thought, ‘My work is quite futuristic, very colorful and digital, so how can (make it fit) in?’ I think of this work like an ancient machine used by the catfish to collect data by listening to sounds of the calls to prayer from countries around the Red Sea. And by hearing it, the fish are able to measure distances, and study the water and such. That thought was based on research from lectures from scientists. 

‘The Gömböc, the Turtle and the Evolution of Shape’ 

Photo: AN/Huda Bashatah

This is a game based on a lecture by a scientist. If you put the headphones on, you can hear the lecture and then when you reach the top of this fish mountain, there’s a room that has a table that also existed in the lecture and you can interact with that. It’s a video game I made with my husband. He’s an economist so he helps me a lot with conceptualizing what data could be like — that kind of geeky aspect of my work. It’s very experimental and it’s a little bit janky — in the best way possible!  

‘Elemental Sprite’ series  

These AI works — “Sphere,” “Rod,” “Disc,” and “Blade” (shown here) — are based on some of the same research as “Wave Catcher,” which is some sort of mathematical study of pebbles and the way that pebbles change in nature. But also, if you scan one of the squares, it animates. I’m very much a digital artist at heart and AI is something I’m really interested in, but I have to say that I don’t use AI in engines; I use sort of ‘offline AI.’ I use the modules themselves, the interfaces. Every six months, AI completely changes in quality because it really develops, and I learn more too. This is almost like a documentation of my learning curve, and of the technology itself. 

‘Before Asphalt’ 

These are pictures that I stole from my dad before he passed away. He used to work at the municipality, and these were pictures from the Nineties documenting some of the potholes around Jeddah. I like to think of the city as a galaxy and the potholes as portals. The yellow looks like slime — I’m definitely a cartoon girl and this is like “(Teenaged Mutant) Ninja Turtles” sludge. I think maybe it’ll appear again in another work and I’ll get more into this portal idea.