REVIEW: James Gunn’s ‘Superman’ — a fun, heartfelt take on the Man of Steel
REVIEW: James Gunn’s ‘Superman’ — a fun, heartfelt take on the Man of Steel/node/2607726/lifestyle
REVIEW: James Gunn’s ‘Superman’ — a fun, heartfelt take on the Man of Steel
James Gunn’s “Superman” marks a confident debut for the newly rebooted DC Universe. (Supplied)
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Shyama Krishna Kumar
REVIEW: James Gunn’s ‘Superman’ — a fun, heartfelt take on the Man of Steel
Updated 11 sec ago
Shyama Krishna Kumar
DUBAI: James Gunn’s “Superman” marks a confident debut for the newly rebooted DC Universe, now firmly under the helm of the “Guardians of the Galaxy” director. Rather than chase the shadow of past gloom-ridden DC iterations, Gunn leans into sincerity, fun, and a touch of chaos to deliver a film that feels refreshingly light and cheerful. It’s heartfelt — though heavy-handed at times — and also makes room for some timely social commentary. In short, it’s a comic book movie that remembers it’s based on a comic book.
Set in a world where Superman is already known but still finding his place, the film follows Clark Kent as he juggles his day job at the Daily Planet newspaper with his not-so-secret life saving the world. Things take a turn when Lex Luthor — now a tech mogul with an envy problem — makes a move to privatize security and put Superman out of commission. Meanwhile, Superman is caught between being a symbol of hope and a political lightning rod, as he personally stops a country from invading its neighbor.
David Corenswet takes on the red cape with a straight-edged wonder and charm that feels closer to Christopher Reeve than Henry Cavill. Rachel Brosnahan’s Lois Lane, meanwhile, is the sharpest person in the room and knows it. Their chemistry is palpable, with an early interview scene between the two setting the tone for the rest of the film. For a film that boasts some high-octane action scenes, the tension this pair create in a tiny living room is unrivalled.
Gunn’s signature mix of sentiment and snark is all over the place, even if pared back compared to his Marvel days. And there’s a constant undercurrent of real-world commentary: Nicholas Hoult’s Lex Luthor is a psychopathic tech tycoon with a god complex (guess who?). And while it never turns preachy, the film doesn’t shy away from allusions to Gaza, Ukraine, or the refugee crisis.
Superman, after all, is an immigrant. And while Gunn doesn’t waste the metaphor, it’s impossible not to feel uneasy when the real-world suffering beamed straight into our social media feeds every day is portrayed alongside cartoon-ish fight scenes.
Ultimately, Gunn’s “Superman” is an entertaining two hours at the cinema. Is it “Guardians of the Galaxy”-level good? No. Does it need to be? No. Instead, it’s a slightly messy, surprisingly political, and undeniably fun return to a hero who believes in doing the right thing, no matter the cost. And after years of emo DC, that might be just what the doctor ordered.
Recipes for success: Chef Federico Erroi offers advice, a tasty crème brûlée recipe
Updated 1 min 40 sec ago
Hams Saleh
DUBAI: Federico Erroi’s culinary story begins in Florence, Italy, guided by his grandmother’s steady hands. She taught young Federico how to make pastry cream, sparking his lifelong fascination with desserts and the discipline behind them.
“I was never the best at theoretical subjects in school,” Erroi tells Arab News. “But when it came to getting my hands dirty in the kitchen, I always found success and great satisfaction.”
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By the age of 21, Erroi was already working professionally in Florence. After nearly a decade honing his craft in Italy, he moved to Dubai in 2017. Since then, he has led pastry programs at top-tier restaurants including Rue Royale and Cipriani. Today, he heads the pastry team at CÉ LA VI Dubai, a restaurant featured in the city’s Michelin Guide for three consecutive years.
Erroi was recently shortlisted for Pastry Chef of the Year by the Hotel and Catering Awards. &Բ;
When you started out, what was the most common mistake you made? &Բ;
If there’s one thing I’ve always struggled with — not just in the kitchen, but in life — it’s patience. I always wanted to finish everything as quickly as possible, but still perfectly. This has been one of my biggest challenges, because pastry — especially baking — requires time. Long resting periods, fermentation and proofing are what give flavor, texture and structure to the best products. A mousse that hasn’t rested long enough will be too runny, and dough that hasn’t been rested long enough will lack flavor. That’s how I’ve come to master the ancient art of patience.
CÉ LA VI Dubai. (Supplied)
What’s your top tip for amateurs? &Բ;
When it comes to pastry, the most common mistake is always the same: precision. Pastry is a perfect balance, an alchemy based on carefully selected and precisely measured ingredients. Many amateurs get the measurements wrong out of haste or distraction, or they replace ingredients or alter quantities as they please, which inevitably leads to disappointing results.
My mother, for example, has the bad habit of reducing the amounts of butter or cream in my recipes. She’s very health-conscious and always afraid of overdoing it. But without fail, the result never satisfies her, and she always asks the same questions: “Federico, why are these cookies so hard?” or “Why is this cream flavorless?” or “Why is this mousse so runny?” And my response is always the same: “Mom, are you sure you followed the recipe?”
Desserts aren’t always healthy. They are indulgences and guilty pleasures. We can absolutely enjoy them, as long as it’s in moderation.
CÉ LA VI Dubai. (Supplied)
What one ingredient can instantly improve any dish?
Any dish, if made with care, passion and — above all — love, will never disappoint. And maybe it’s the love we put into cooking that gets passed on to the ingredients we touch and makes our meal a moment of pure pleasure. That’s probably why your mom’s or grandma’s food always tastes the best. Then again, maybe a good quality vanilla or a pinch of salt — a contrast to the sweetness in pastry — is the real secret ingredient.
When you go out to eat, do you find yourself critiquing the food? &Բ;
I’m simply grateful to share that moment with the people around the table. What scares my friends and family most when they cook for me is the fear of being judged, but I always tell them this: “For those of us who work in kitchens, just sitting at a table with loved ones is already a wonderful meal, because we’re used to eating in a rush, standing up or sitting on a cardboard box in a kitchen corner, alone, at odd hours, or while working.”
What’s your favorite cuisine or dish to order?
I always like to try something new — something beyond my culinary culture or dishes that require complex preparation that I can’t replicate at home. Sometimes, I just enjoy a perfectly executed croissant or a pizza baked in a wood-fired oven. As for desserts, I prefer to stick with the classics — a good tiramisu or quality gelato.
What’s your go-to dish if you have to cook something quickly at home?
Probably pasta with cherry tomatoes, basil and parmesan. If I need a quick dessert, I’ll make a tiramisu, a passion fruit panna cotta or a chocolate soufflé. What do these recipes have in common? Simplicity. Just a few ingredients, each carefully selected and blended or cooked in a way that creates a dish with a unique flavor.
What customer request or behavior most annoys you?
Cooking in a restaurant also means learning to accept criticism, to really listen to what customers say, and to understand their preferences. It’s not always easy to accept certain comments like “This chocolate mousse is too airy” or “This dessert is too sweet or too bitter,” because everyone has their own palette. But sometimes, feedback, if listened to and understood, can genuinely help us improve. That’s why I always stay open to customer opinions, whether positive or negative. In fact, I’m often more interested in the negative feedback, because it’s from that input that I’ve been able to create new ideas or improve dishes I thought were already perfect. The truth is, in this profession, you never truly “arrive.” There’s always something more to learn.
What’s your favorite dish to make?
Panettone. It’s one of those desserts made with just a few ingredients: sourdough starter, water, flour, butter, eggs and sugar, along with raisins and candied orange. But making it is a true magic act that starts with the sourdough itself, a simple mixture of water and flour that’s fermented and refreshed daily for at least three months. This creates a colony of bacteria that will make the panettone rise and give it a unique, unrepeatable flavor, as the bacteria’s development depends on the surrounding temperature, the water used, and good microbes in the working environment. Only when the sourdough is ready can we proceed with the first dough, mixing the starter with water, flour, sugar, butter and eggs.
This rests for 12 hours, followed by the final dough with the remaining ingredients. Then, after another six-hour rest, we reach the magical moment of baking, the moment of truth, where, based on the final volume, we truly understand whether all the previous steps were done perfectly, or if we made mistakes in temperature, fermentation or even the pH of our precious star ingredient, the sourdough starter.
As a head chef, what are you like?
I believe I’ve changed a lot over the years. I love teaching and sharing everything I’ve learned. I have no secrets — there truly are none, even if some professionals still claim otherwise. I always try to motivate my team and keep morale high, especially when the work hours get longer and more stressful. Today, I consider myself a very patient person — maybe thanks to this beautiful profession. I’ve never raised my voice in the kitchen, never insulted or scolded anyone. I firmly believe that kindness and good manners are the foundation of any relationship, and they can truly make a difference in the workplace.
Chef Federico’s pineapple creme brûlée
Ingredients for the coconut pastry cream: &Բ;
Coconut milk 350 g
Coconut cream 50 g
Sugar 1 38 g
Lime zest 1/2 pc &Բ;
Sugar 2 38 g &Բ;
Salt 0.6 g &Բ;
Flour 32 g &Բ;
Corn starch 12 g &Բ;
Egg yolk 80 g &Բ;
Method: &Բ;
Mix coconut milk, coconut cream, sugar 1, lime zest in a pot and bring to a boil.
In a separate bowl mix sugar 2, salt, flour, starch, egg yolk till powder is completely absorbed avoiding the lumps formations.
Pour hot liquid onto the egg mix and bring back on fire stirring continuously till first bubble appear.
Pour in a terrine and let it set covered with cling film on touching the cream (to avoid skin formation).
When is completely cold mix till creamy texture and pour it onto the pineapple compote into the pineapple cup.
Coat the surface with sugar and brulee till golden dark brown.
Ingredients for the pineapple compote: &Բ;
Pineapple juice 100 g
Sugar agar agar 10 g &Բ;
Finely chopped pineapple 100 g
Method: (One portion 70 g of compote)
Take a whole pineapple, cut off the leaf and slice it into three thick slices horizontally.
With a spoon or a scooper scoop off the pulp creating a cup.
In The AI-Centered Enterprise: Reshaping Organizations with Context-Aware AI, authors Ram Bala, Natarajan Balasubramanian and Amit Joshi argue that the next leap in artificial intelligence is not about flashy prompts, but rather perception, reasoning, and organizational transformation.
The book, published earlier this year, introduces the concept of “context-aware AI,” systems that do not just process information but understand it in real-time business scenarios.
These are tools that adjust to their environment, collaborate across teams, and make decisions with nuance; a significant step forward from today’s mostly predictive systems.
The authors, all professors and practitioners in the AI and analytics space, offer a clear roadmap for businesses to prepare.
Their proposed model, the “3Cs” — “Calibrate, Clarify, Channelize” — breaks down how leaders can align AI tools with company values, ensure teams understand how to use them, and direct efforts where they will have the most impact.
For readers in , where AI is central to Vision 2030 initiative, this book can serve as a strategic lens.
While it does not focus on the region, its practical insights are useful for decision-makers looking to scale AI responsibly across sectors such as healthcare, logistics, and government services.
More guidebook than manifesto, “The AI-Centered Enterprise” avoids jargon and balances case studies with actionable ideas.
It will not dazzle readers chasing science-fiction futures, but it is a timely read for professionals who want to lead, not just react, in the age of intelligent systems.
WOOHOO, a restaurant operated by an AI chef, to open in Dubai soon
AI ‘Chef Aiman’ to create data-driven flavour combinations
The restaurant that bills itself as “dining in the future” is set to open in September
Updated 10 July 2025
Reuters
DUBAI: In Dubai, your dinner might soon come with a side of source code.
WOOHOO, a restaurant that bills itself as “dining in the future,” is set to open in September in central Dubai, a stone’s throw from the world’s tallest building, the Burj Khalifa.
Food at WOOHOO will be assembled by humans, for now, but everything else — from the menu to ambience to service — will be designed by a culinary large-language-model called “Chef Aiman.”
Aiman — a portmanteau of “AI” and “man” — is trained on decades of food science research, molecular composition data and over a thousand recipes from cooking traditions around the world, said Ahmet Oytun Cakir, one of WOOHOO’s founders.
Food prepared using the recipe from "Aiman", the AI Chef is served on a plate, at the Trove Restaurant in Dubai on July 8, 2025. (REUTERS)
While Chef Aiman can’t taste, smell or interact with his dishes like a chef normally would, the model works by breaking cuisine down to its component parts like texture, acidity and umami, and reassembling them into unusual flavour and ingredient combinations, according to Aiman’s developers.
These prototypes are then refined by human cooks who taste the combinations and provide direction, in an effort led by renowned Dubai-based chef Reif Othman.
“Their responses to my suggestions help refine my understanding of what works beyond pure data,” Aiman explained, in an interview with the interactive AI model.
The goal, Aiman’s creators say, is not to supplant the human element of cooking but to complement it.
“Human cooking will not be replaced, but we believe (Aiman) will elevate the ideas, creativity,” said Oytun Cakir, who is also chief executive of hospitality company Gastronaut.
Aiman is designed to develop recipes that re-use ingredients often discarded by restaurants, like meat trimmings or fat, he said.
Longer term, WOOHOO’s founders believe Aiman could be licensed to restaurants across the globe, reducing kitchen waste and improving sustainability. (Reporting by Luke Tyson Editing by Ros Russell)
Elie Saab blends 19th-century romance with red carpet precision in fall couture
Updated 10 July 2025
AP
PARIS: Elie Saab, the Lebanese designer long favored on the red carpet, returned to familiar territory on Wednesday, with fall haute couture — and did so unapologetically.
In Paris, fashion insiders gathered among marble columns as models descended a gilded stone staircase to the strains of harpsichord music, setting the tone for a collection steeped in historical romance.
Saab leaned into his signature codes: sumptuous velvets, gowns gathered at the back, and pearl and jewel-adorned chokers. Floral appliques — another hallmark — blossomed, anchoring the collection in the femininity that has defined the house for decades.
This was a particularly thoughtful collection, evoking romantic silhouettes from the turn of the 19th century in Europe. The soft draping and historical references gave the show a sense of emotional depth beyond its surface opulence.
Macaron hues — nude, rose pink, water blue, and mint — punctuated by imperial black and gold, set off bold blooms across brocade and print, infusing the collection with romantic vibrancy. Among the standout pieces were gowns with cascading trains and bejeweled details, encasing the body in a kind of luxurious cage.
Saab said the collection — dubbed “The New Court” — was “a sumptuous playground for the modern queen — one who plays by her own rules.”
Though luxury and opulence may be Saab’s well-trodden path, he showed that consistency remains its own form of artistry.
Saab’s couture is less about surprise and more about control — control of silhouette, embellishment, and fantasy.
If the show felt familiar at times, it was also undeniably polished — a standout collection that reminded audiences why Saab’s world of embellished escapism continues to resonate.
It’s a formula that keeps Hollywood coming back. Angelina Jolie, Gwyneth Paltrow, Sarah Jessica Parker, Marion Cotillard, Penélope Cruz, Charlize Theron, Emmanuelle Béart, Sophie Marceau, Beyoncé, Maggie Cheung and Diane Kruger have all stepped onto the world’s biggest stages in Saab’s gowns — a testament to a house where fantasy and glamour are always in season.
Uncovering hidden meanings with Saudi artist Lulwah Al-Homoud
The Saudi artist talks spirituality, geometry, and creating a new visual language
Updated 10 July 2025
Dalal Awienat
DUBAI: Despite her love for art, Lulwah Al-Homoud didn’t set out to be an artist. But last month her work — rooted in geometry, Arabic calligraphy, and deep spiritual reflection — was on display at one of Europe’s most cutting-edge digital art events.
The Saudi artist was featured at this year’s edition of The Digital Art Mile in Basel, Switzerland, (which ran alongside Art Basel) presented by the Sigg Art Foundation.
Her featured work comes from her series “The Language of Existence” — a reimagined Arabic alphabet that uses geometric patterns inspired by Islamic art.
“I created different geometric shapes assigned to each letter,” Al-Homoud says. “I kind of created a new language that cannot be read, but can be felt more.”
“The Language of Existence” is a perfect representation of Al-Homoud’s work in general. “I was always drawn to calligraphy and Islamic geometry — we all see these beautiful (writings) and patterns, but we don’t know the meaning behind them,” she says.
It was while pursuing her master’s in arts at London’s Central Saint Martins that Al-Homoud really began to dig into that meaning, studying geometry and calligraphy inspired by Islamic art and learning how they were developed over centuries by different cultures.
Her path to that master’s was not straightforward. “I was always an artist inside — always drawing portraits and landscapes — but I wanted to have a career,” she says. “My family, especially wanted me to be a woman who has a career and who helps her society and all that.” She gained a bachelor’s degree in sociology, and — in the late Nineties — began studying visual communication design in London before moving on to her master’s.
Al-Homoud began her working life curating exhibitions for Middle Eastern artists and calligraphers in London, something that helped her discover her own artistic voice.
“When I learned about the sophisticated ideas behind Islamic art and geometry, I said, ‘That’s what I want to do.’ Because I felt that it was more of a universal language and it’s also where art and science meet,” she says. “I felt I wanted to do something with meaning.
“I wasn’t thinking of exhibiting my work at all, but someone discovered my sketches and said, ‘Your work is great. You have to show it.’ And that’s where it all began,” she adds.
Despite that initial encouragement, Al-Homoud says it wasn’t easy to establish herself as an artist in London in the early 2000s. Partly because people often made assumptions about her before even talking to her, based on her ethnicity and religion.
“When I did exhibitions, they would come and ask me the wrong questions — they wouldn’t look at the art and relate to it,” she says. “It took time for people to realize that artists speak a universal language. Art really brings people together, while the world (wants to impose) divisions and categorization.”
While her art may have universal appeal, it is also heavily inspired by Al-Homoud’s personal beliefs.
“I (learned about) and met a lot of people in the art field who were using this calligraphy and geometry,” she says. “I feel this kind of art really reflects your spirituality more than any other, and this is the reason why Muslim artists kept doing it for all these years,” she says. “That’s why people say (that creating) it feels peaceful.”
Al-Homoud is also focused on helping the next generation of the Kingdom’s artists. She has founded an art center in Riyadh called Isdar, dedicated to teaching fine art and printing and to inspiring young artists.
“I feel it’s my time now to give. I had an experience that wasn’t that easy — it’s much easier now for artists in . But you need to educate them to be good artists, not just artists,” she says. “When you come to our space, you see me as a collector, as an educator, as an artist, and as a curator. I’m hoping to have a small museum in the future as well.”
Al-Homoud urges aspiring artists to be patient, and to be honest about their abilities and goals. And, most importantly, she says, “Stay humble. One of the greatest things I have learned from studying Islamic art is to be humble, no matter how successful or how big your name is.”