Visitors can document their enjoyment through professional videos shot in slow motion, with a choice of effects
Updated 01 January 2023
Arab News
Slime Planet in Boulevard World, one of the entertainment zones of Riyadh Season, offers children an interactive learning experience — by playing with slime.
The “slime” is a polymer substance that can behave like a solid or liquid.
Families can join their children in fun-filled activities, such as helping them design and build artworks and drawing on sand in an entertaining and creative environment.
Along with a choice of entertainment options, Slime Planet includes interactive exhibitions, live shows and practical hands-on experiences.
Visitors can document their enjoyment through professional videos shot in slow motion, with a choice of effects.
Boulevard World includes a range of subzones and the largest man-made lake in the world. The zone offers visitors boat and submarine rides, a first in Riyadh Season, in addition to entertainment options, such as Combat Village, Super Hero Village, and cable car rides between Boulevard World and Boulevard Riyadh City.
Review: ‘Holes’ is a prime example of quiet, impactful storytelling
Updated 4 min 22 sec ago
Jasmine Bager
DHAHRAN: Saudi film “Holes” continues to make its mark with screenings at film festivals around the world. The quietly arresting drama follows Rakan, a man in his mid-40s, as he returns to his hometown to be with his wife, Reem. He struggles to re-enter a society that no longer trusts him — and one that he also does not fit into.
The film starts with a literal clock — which we don’t see — persistently ticking in the otherwise vacant interior of a residence, the loud but constant sound in the midst of silence sets the tone.
With a fiery but contained temper, eyes welling with sadness, we find out that Rakan is prone to fits of rage. He is portrayed as only having a soft spot for his aging mother and his wife, all while dodging men from his past who haunt him.
The film doesn’t linger on the specifics — there are many gaping holes in the story. Instead, it centers on how the weight of reputation, judgment and suffocating silence shapes a person trying to begin again.
It stars Mariam Abdulrahman and Meshal Almutairi and was produced by Ayman Alnaqeeb and Abdulrahman Altikhais.
Abdulmohsen Aldhabaan, the director of “Holes,” is an independent Saudi writer and filmmaker. He co-founded Talashi Films in 2008 and has directed several shorts and a TV series.
Aldhabaan‘s debut feature film, “Last Visit” (2019), gained international recognition, becoming the first Arab film selected for the East of the West Competition at the Karlovy Vary International Film Festival. It also earned the Jury Award at the Marrakech International Film Festival.
With “Holes,” Aldhabaan continues his signature style of quiet, impactful storytelling marked by restraint and emotional depth.
In “Holes,” Aldhabaan crafts a slow, thoughtful narrative. Rather than relying on heavy dialogue or exposition, the film builds its emotional landscape through atmosphere — solitary walks at night, avoiding tiny puddles in the alleyways, prolonged pauses and distant glances — to explore isolation and inner conflict. The pacing may feel slow to some, but it seems deliberate — offering space for reflection and tension to build.
A persistent image in the film is a literal hole in the wall of Rakan and Reem’s new home. It is never ignored but also never fixed, and that choice is telling. At one point, it gushes water as Reem tries to stuff pretty-colored cloths to stop it — to no avail. It floods their bedroom and the couple tries to contain it together.
The hole becomes a powerful metaphor representing wounds that haven’t healed, things left unresolved, and the parts of a life that remain open to scrutiny or misunderstanding. It defines the space around it — the hole is a character all its own.
Palestinian solidarity takes center stage at Glastonbury
Updated 29 June 2025
Arab News
DUBAI: Glastonbury Festival 2025 is making headlines not just for its music, but for the powerful pro-Palestinian messages echoing across its stages and crowds.
Irish rap group Kneecap drew one of the festival’s largest crowds at the West Holts Stage. Dozens of Palestinian flags flew in the crowd as the show opened with an audio montage of news clips referring to the band’s critics and legal woes.
Mo Chara of Irish rap group Kneecap wearing a keffiyeh at Glastonbury festival. (AFP)
Between high-energy numbers that had fans forming a large mosh pit, the band members — sporting keffiyehs — led the audience in chants of “Free Palestine” and “Free Mo Chara.” They also aimed an expletive-laden chant at UK Prime Minister Keir Starmer, who has said he didn’t think it was “appropriate” for Kneecap to play Glastonbury.
One member wore a T-shirt emblazoned with “We Are All Palestine Action,” referencing the direct-action network that targets arms factories supplying Israel.
Earlier that day, punk duo Bob Vylan also stirred controversy with a performance that included the chant “Death to the IDF.” The statement has prompted a police investigation and sparked a broader debate over the limits of free speech in live performance.
Across the festival, Palestinian flags were visible in every direction — raised by artists, waved in the crowd, and printed on T-shirts and posters. Activist installations, including a projection mapping Gaza’s destruction, drew foot traffic near the Apocalypse Museum area, while several artists circulated an open letter calling for an immediate ceasefire.
REVIEW: ‘The Bear’ season four is a triumphant return to form
Updated 28 June 2025
Adam Grundey
DUBAI: We should’ve had more faith. Fears (including from this reviewer) that “The Bear” was floundering after the glacial pace of its third season can now be put to bed. Season four is pretty much everything fans of the show could’ve wanted: tense, dramatic, joyous, thought-provoking, funny and deeply moving. And with plenty of further proof that this might be the most talented ensemble cast currently on our screens.
Season three ended with the fate of the titular restaurant in the balance as the team — led by star chef Carmen “Carmy” Berzatto (Jeremy Allen White), his mentee Syd Adamu (Ayo Edebiri), maître d’hôtel Richie Jerimovich (Ebon Moss-Bachrach), and business manager Natalie “Sugar” Berzatto (Abby Elliott) — awaited a make-or-break review in the Chicago Tribune. That’s quickly resolved: Despite some highly positive comments, the review is ultimately a dud — thanks largely to Carmy’s stubborn insistence on changing the menu daily; a choice that isn’t just leading to inconsistent performance from his team, but in heavy hits to the budget as they can’t bulk buy from suppliers.
So, that old enemy time takes center stage, as financial backer Uncle Jimmy (Oliver Platt) and his ruthless cost-cutting friend The Computer install a countdown clock in the kitchen, giving the team 1,440 hours to save itself. That clock hits zero in the excellent final episode.
In between times, the development of several characters’ back stories that contributed to the feeling of aimlessness last year starts to pay off here, as much of the action is taken out of the kitchen and into a deeper exploration of what the show is really about: family — the ones we’re born into, the ones we choose, and the ones that choose us. Once again, there’s a Berzatto (extended) family get-together at the season’s heart in a one-hour episode set at Richie’s ex-wife’s wedding. The stage is set for another dysfunctional social disaster. Instead, we get something altogether warmer but equally dramatic. It’s exceptional television.
At the heart of it all is the characters’ continued quest for self-improvement — from Tina’s attempts to improve her cooking speed, through Syd’s efforts to silence her self-doubt, to Carmy’s endeavors to allow emotional connections into his life and stop self-sabotaging.
This season may still be a little too slow for those pining for the claustrophobic hyperactivity of season one, but the creators have found a sweet spot here between that and the stagnation of season three. “The Bear” is back.
Roll the dice: Monopoly Riyadh set to hit shelves this September
New version of the game to feature Riyadh and famous institutions and landmarks, new and old
Monopoly is the best-selling international board game in history, Guinness World Records says
Updated 29 June 2025
Nada Alturki
RIYADH: The launch of a Riyadh edition of the iconic Monopoly board game was announced on Thursday at a preview event that even feature an appearance by the game’s mascot, Mr. Monopoly.
The new version of the game, which will be on sale in September, was created, according to a statement, to celebrate “the rich heritage and modern transformation” of the Kingdom’s capital and features locations including the King Abdullah Financial District, Saudia Airlines, Souk Al-Zal, the Saudi Cup, the Diplomatic Quarter, Tamimi Markets, Jazean coffeeshop, Bujairi Terrace in Diriyah, Olaya Street, and King Fahd Road.
“We strive to include both the traditional and the modern in terms of landmarks and to create a story. So as you’re going through the Monopoly board, you are learning about, and getting insight into, the city of Riyadh, and you’re passing roads that most real residents would pass by on a day-to-day or weekly basis,” Hamad Alowaishiq, founder and chairman of official partner the Saudi Youth Society (SYS), which acted as a cultural advisor for the game’s makers, told Arab News.
Hamad Alowaishiq, Founder and Chairman of the Saudi Youth Society (SYS), recieving a certificate of appreciation at the launch event on Thursday. (AN Photo by Huda Bashatah)
“It’s a responsibility and a pleasure to be representing Riyadh on such a platform. And with that responsibility, we have been dedicated to delivering the identity and culture of Riyadh,” he added.
According to Guinness World Records, Monopoly is the best-selling board game in history, with more than 275 million units sold worldwide over the past 90 years.
“There’s something really interesting about seeing our city culturally represented within an international brand,” Princess Nourah Al-Faisal, vice-chairman of SYS, told Arab News. “It says a lot about how far we’ve come and how important our market and our community has become on the international scale that Monopoly would come and do this—and quite right too.”
“I remember playing this game when I was young with my grandfather and family,” Liam Johnson, the racecourse director of the Jockey Club of Saudi Arabia’s Saudi Cup, told Arab News, adding that he believed the Saudi Cup’s profile would be raised globally by being featured in an edition of a game that “cuts through the different audiences.”
Liam Johnson, the Racecourse Director of the Jockey Club of Saudi Arabia/The Saudi Cup. (AN Photo by Huda Bashatah)
Diriyah has three places on the board: Wadi Hanifah, Zallal, and Al-Bujairi Terrace — all of which have become staples in Riyadh’s events and hospitality sectors.
“As the birthplace of the Kingdom and its significance to the country, to be able to bring that legacy and that heritage onto the board is a true honor,” Nicola Cope, executive director of brand marketing at Diriyah, told Arab News.
The Ritz-Carlton’s Mazen Allam said: “Over the years, we’ve been privileged to host moments that actually matter, from royal visits, world summits, weddings, quiet weekends, all woven under the fabric of this city. Now, with Monopoly, we get to join families and communities across generations. And the fact that we can create joyful memories that extend beyond our walls is something very special.”
KAFD, home to 95 interconnected buildings, where more than 20,000 people work — not including the thousands of daily visitors and residents, is a pivotal inclusion on the board. Mazroua Al-Mazroua, KAFD’s chief marketing and experience officer, told Arab News: “We all grew up playing Monopoly. We understand the game — it’s strategic, competitive, and centered around real estate. Today, KAFD reflects those same qualities. It’s not just an iconic business district; it’s Saudi Arabia’s first vertical urban city and a dynamic lifestyle destination.
“It only makes sense for KAFD to be featured in the Monopoly Riyadh Edition — a perfect match between a game of strategy and a district that lives and breathes it every day.”
REVIEW: ‘F1: The Movie’ — high-octane entertainment and old-school charm
Updated 26 June 2025
Shyama Krishna Kumar
DUBAI: There’s a moment in “F1: The Movie,” where you’ll feel like you're flying, all while strapped into a tiny metal box hurtling at a speed you can't comprehend. This is when you realize this isn’t just another sports drama; it’s a sleek love letter to Formula 1, anchored by Brad Pitt’s enduring star power and a surprisingly effective dynamic with relative newcomer Damson Idris.
Pitt plays Sonny Hayes, a grizzled former driver lured back to the thrills of the pit lane for one last go. He’s all swagger and scars, but yes, he’s still got it. Pitt’s presence brings gravitas to a film that flirts with the edges of cheesiness but never forgets its emotional core. Whether he’s behind the wheel or delivering motivational growls in the garage, he sells it — and then some.
Opposite him is Idris as Joshua Pearce, a rising star struggling to reconcile his love for the sport with the noise that comes with the fame and money, who becomes Sonny’s reluctant protege. Idris brings a fresh, fiery intensity that balances Pitt’s seasoned cool. The strained mentor-mentee trope has been done to death, but it’s portrayed with sincerity and the right amount of tension here.
Additionally, Kerry Condon delivers a sharp, emotionally solid performance as the team’s no-nonsense engineer, anchoring the high-octane chaos with quiet authority. Her scenes with Pitt crackle with wit and chemistry, and deliver some of the bigger laughs.
Director Joseph Kosinski (“Top Gun: Maverick”) brings his signature high-octane style to the film, especially the race sequences. The sound design is impeccable, the cinematography breathtaking. And composer Hans Zimmer's layered, gorgeously synth-drenched background score goes well with a soundtrack that thumps out rock one minute and smooth R'n'B next.
The film builds toward a final showdown in Abu Dhabi, and while the climax is predictable, it’s executed with such unapologetic flair that you can’t help but cheer. The Yas Marina circuit has never looked more cinematic — it’s the perfect backdrop for a finish that’s equal parts cheesy and thrilling.
“F1” isn’t rewriting the sports-movie playbook, but it really doesn’t need to. It’s crowd-pleasing, adrenaline-fueled, masterfully executed entertainment with more than enough heart to keep it grounded.
