Recipes for success: Chef Carmen Landsberg offers advice and a tasty egg carbonara recipe

Recipes for success: Chef Carmen Landsberg offers advice and a tasty egg carbonara recipe
Born in the small South African town of Empangeni and raised in a family passionate about cooking, Landsberg found her love for the kitchen at an early age. (Supplied)
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Updated 12 September 2025

Recipes for success: Chef Carmen Landsberg offers advice and a tasty egg carbonara recipe

Recipes for success: Chef Carmen Landsberg offers advice and a tasty egg carbonara recipe

DUBAI: For Carmen Landsberg, the kitchen has always felt like home — a place of creativity, comfort and connection. Born in the small South African town of Empangeni and raised in a family passionate about cooking, Landsberg found her love for the kitchen at an early age. 

“I enjoyed cooking from a really young age. It’s always kind of been in my family. I think I’m the only one that’s a professional chef, but we’ve always been surrounded by food — and obviously, being South African, it’s very much part of our culture,” she tells Arab News. “It’s a gathering. It’s about getting together.” 

She credits her uncle for sparking her interest: “I spent a lot of time on our family farm. I’d get tomatoes from the garden and maybe make some tomato soup from very few ingredients.” 

Now group executive chef at Brunch & Cake Global, she leads the brand’s expansion across the GCC and beyond, including the Kingdom. 




For Carmen Landsberg, the kitchen has always felt like home. (Supplied)

“What excites me most about is the growing appetite for unique and global food experiences,” she says. “There’s an incredible energy. People are curious, open-minded, and eager to explore new flavors and concepts. It’s a vibrant, fast-evolving landscape, and I’m proud to be part of bringing Brunch & Cake into that.”  

When you started out, what was the most common mistake you made? 

Letting the pressure get to me and not utilizing the things around me to make my life easier. Like, using the wrong utensils and equipment — trying to take shortcuts. Specific tools are there to make everything easier for you. Like having a sharp knife, using a slotted spoon to pick up a poached egg instead of just quickly grabbing anything, or not using tongs to pick up pasta out of boiling water, or using a proper pasta basket, for example.  

What’s your top tip for amateur chefs?  

Investing in a good knife is key. Your knives are everything. They are your best friend. And, more generally, don’t overcomplicate things. Less is always best, I’d say.  




Brunch and Cake in King Abdullah Financial District. (Supplied)

What one ingredient can instantly improve any dish?  

I think citrus is probably my top one. Anything with a little bit of acidity can lighten up something that’s very heavy. If you over-season or over-salt something, adding a little bit of lemon helps. Lemon would definitely be my go-to.  

When you go out to eat, do you find yourself critiquing the food?  

I do notice things, but I don’t actively go out looking for them. I think being a chef makes you more lenient, actually. I try to let people do what they’re good at and just enjoy the experience. Do I notice things? Of course. It’s in my nature. But I don’t want to be obnoxious. I’m happy to go to a burger place and just appreciate that I’m there for a burger and enjoy that. But if someone does ask, I’ll give feedback. That’s important. If someone asks me, “How was it?” and I genuinely feel that I didn’t enjoy a specific thing, or maybe we didn’t get proper service, I’ll say something like, “Everything was amazing, but it would’ve been helpful if someone came to check on our table a bit more.” I’d approach it like that.  

What’s the most common issue that you find in other restaurants?  

I often notice that, after you’ve eaten, there are a lot of times when you just get the bill — no one comes over to ask, “Did you have a good time? Did you enjoy it?” I would say that’s a common mistake not asking for feedback. But sometimes people would rather not ask because they don’t want to hear the answer.  

What’s your favorite cuisine or dish to eat?  

I hope you’re not going to hate me for this, but I don’t actually have a favorite dish. I genuinely love all food — I promise you, I really love food. I’m not the kind of person who says, “Oh, I only love Italian.” But I will say that I do love fusion items. I love experimenting, I love combining Asian with other cuisines, like, why not have an Asian-style burger? So I’d say fusion food is probably my favorite. But more than specific dishes, I think I love specific ingredients, like butter, cream or herbs.  

What’s your go-to dish if you have to cook something quickly at home?  

I think my go-to and my “cooking something quickly” are a bit different. My go-to… I love cheese. I love anything with cheese, so, like, crackers with cheese. Even if I start cooking something that’s meant to be quick, I tend to go off track, because I just get inspired and let the flavors flow — and before I know it, an hour’s gone by. So my quick, easy, go-to is probably a little harvest board — something where I can just avoid a cooking accident.  

What customer behavior most annoys you? 

I have two that are probably tied. Number one is people leaving without giving feedback. Or people saying everything is great, then leaving a bad review, or guests not giving you the chance to make things right. We take our negative reviews really seriously. And giving negative feedback isn’t always a horrible thing — you don’t have to do it in a horrible way; it can be very constructive. 

But also, it’s when guests want to change the dishes too much. You come to have an experience, and then you change the dishes so much that they’re not even recognizable. That happens a lot. Sometimes people come in and say, “Oh, can I have that instead of this?” or “I don’t like that, can I have this instead?” And you’re, like, “But we don’t actually have that on the menu.” And sometimes that even leads to a complaint.  

What’s your favorite dish to cook ? 

Anything around the fire really brings me back home because I’m South African. Having a barbecue is something that brings people together. It’s always about everyone bringing a dish. I do have a passion for anything cooked over fire. Nothing can beat a good steak on a fire — that crust you get, the fat that renders down… nothing compares. Even with vegetables, that smokiness, the char, it really adds something. It’s a little bit of home away from home. 

What’s the most difficult dish for you to get right?  

Definitely a souffle. A souffle is one of those things that can flop in the oven depending on your mood. You could do everything right, but if you’re in a bad mood, the souffle just doesn’t souffle. It’s just one of those things I honestly try to avoid. If anyone ever asked me, “Are you going to put a souffle on the menu?” I’d be like, “No.” Even if you have everything perfect — the oven, the temperature, the ingredients — it’s just one of those things that really picks up on your energy. 

As a head chef, what are you like? Are you laid back? Strict? 

I think my team would tell you I definitely love to keep good vibes in the kitchen. We spend a lot of time with the people we work with, and it’s already such a high-pressure industry, so I definitely don’t want people coming in and not being happy in the place they work. It’s important to always provide a safe space for people. You’re constantly teaching, so you don’t want to be unapproachable. But, at the same time, having boundaries is very important. I’m not like I was maybe 10 years ago — back then I was a bit more Gordon Ramsay-style crazy. But as you get older and reach certain levels in your career, you start to realize that hitting someone over the head with a pan is probably not the best way to get a positive reaction. You have to have a good balance. That’s something I always strive for. 

Chef Carmen’s egg carbonara  




Chef Carmen’s egg carbonara. (Supplied)

Բ徱Գٲ:  

1 plain croissant 

40g grated parmesan 

40g sliced beef bacon 

3 eggs 

50g brown mushrooms, roughly chopped 

10g truffle paste 

100ml cream 

40g butter 

2ml truffle oil 

0.1g dried edible flowers 

3 sprigs of parsley  

ʰ貹پDz:  

Slice the croissant lengthwise and toast until lightly golden. Set aside. 

In a heated pan, add the butter, chopped chopped mushrooms, and bacon slices. Sauté until the mushrooms are soft and the bacon is crispy. 

In a separate bowl, whisk the eggs until fluffy and then fold in the cream and truffle paste. 

Lower the heat and pour the egg mixture into the pan with bacon and mushrooms. Stir slowly and gently until all combined and creamy. Cook to preferred doneness. 

Once the eggs are almost at preferred doneness, season well and finish with a drizzle of truffle oil. 

ʱپԲ:

On a plate, scatter the grated Parmesan in a wide circle, leaving the centre slightly bare. 

Place the toasted croissant in the centre of the plate and generously spoon the truffled egg mixture into the croissant, making it flow out onto the plate. 

Sprinkle with grated Parmesan, garnish with dried edible flowers, and finish with three small parsley sprigs on either side. 


King Salman Park: The green heart of Riyadh 

King Salman Park: The green heart of Riyadh 
Updated 31 October 2025

King Salman Park: The green heart of Riyadh 

King Salman Park: The green heart of Riyadh 
  • The team from Gerber Architekten discuss their RIBA-award nominated design 

DUBAI: In the heart of Riyadh, a groundbreaking project is transforming a former airbase into a green oasis that promises to reshape the Saudi capital’s environmental and social landscape. King Salman Park — nominated for its inaugural Middle East Awards by the prestigious Royal Institute of British Architects — stands as a testament to innovative urban design in one of the world’s most challenging desert environments. 

“Our primary vision was to transform this former (airbase) area from a desert flood zone into living, breathing nature in the heart of Riyadh,” Eckhard Gerber, founder of Gerber Architekten, the German firm behind the design and execution of the park, tells Arab News. 

Thomas Lücking, the company’s managing director, adds, “The idea was to really create a forest and have under its canopy a thousand gardens. So, something to really increase the livability of the city, to attract the citizens into the green, and give them the opportunity to really understand and connect to nature.” 

Concept image for Overlook Hill in King Salman Park. (Courtesy of Gerber Architekten)

The park, spanning 16 square kilometers, will reportedly be the largest urban park in the world. And it’s set to challenge conventional approaches to urban development in extreme climatic conditions. 

“How to structure the park was the biggest initial challenge,” says Lücking. “And what helped us was really understanding Riyadh and the Arabian peninsulas and the wadis — a key element in the environment in and around Riyadh. Here, the main structuring element was creating a manufactured wadi.” 

A second major challenge was connecting the city to the park. “That’s when we got this idea of an intertwining of the green fingers of the park with the urban ‘fingers’ of the city,” he continues. “So, the city reaches into the park, and the park reaches out into the city with those green fingers to make it, really, a vital part of the city — not just an island isolated there. And there’s no fence; there’s no boundary around the park.” 

Concept image for Overlook Hill in King Salman Park. (Courtesy of Gerber Architekten)

The project’s ambition goes far beyond creating a simple green space. It represents a comprehensive approach to urban regeneration, addressing critical environmental challenges while giving citizens a new way to interact with nature in a desert metropolis. 

Water management emerged as a crucial innovation. Lücking highlights the firm’s pioneering approach: “We’re using treated wastewater from the city — approximately 150,000 cubic meters daily — which is polished to near-drinking water quality.” 

This approach not only solves waste-management issues but provides a sustainable irrigation solution for the park’s ambitious green infrastructure. 

Concept image for Museum of the Earth. (Courtesy of Gerber Architekten)

Even the park’s soil is a marvel of scientific engineering. The team dug down 2.5 meters, breaking up compacted airport ground and creating what Lücking describes as “regenerative soil,” and by incorporating red sands, pumice, biochar, and microorganisms, they’ve developed a living ecosystem that can absorb rainwater like a sponge and support an extraordinary diversity of plant life. 

The park — which should be complete by 2030, although some areas will open sooner than that — will apparently host more than 700 plant species, a dramatic increase from the 100-120 species currently cultivated in Riyadh. Approximately half of them are indigenous to , so many of them are being newly introduced to the region’s horticultural landscape. “We wanted to create a place where people can truly enjoy nature,” Gerber emphasizes.  

The park’s design incorporates varied landscape types, including valleys, mountains, and water bodies, with elevation changes spanning 35 meters to create diverse microclimates and viewing experiences. 

Concept image for one of the park's valleys. (Courtesy of Gerber Architekten)

Architectural elements are deliberately integrated into the landscape, rather than imposed on it. The Museum of the Earth, for instance, appears initially as a natural canyon, with building facades subtly emerging as visitors explore deeper. Pedestrian bridges mimic tree branches, and rest areas are designed to resemble natural caverns. 

The park’s design philosophy rejects the typical approach of creating an entertainment zone. “We didn’t want hundreds of artificial attractions,” says Lücking. “Instead, we aimed to create a piece of manufactured nature where people can connect with their environment, explore, and occasionally get delightfully lost.” 

The nomination for the RIBA Awards, for which the winners will be announced Nov. 5, represents more than just architectural recognition for the firm. “It’s our first opportunity to showcase what’s possible in ,” notes Gerber. 


Kathryn Bigelow’s ‘A House of Dynamite’ is a damp squib

Kathryn Bigelow’s ‘A House of Dynamite’ is a damp squib
Updated 31 October 2025

Kathryn Bigelow’s ‘A House of Dynamite’ is a damp squib

Kathryn Bigelow’s ‘A House of Dynamite’ is a damp squib

DUBAI: It looked so good on paper. A nuclear war-themed thriller with a script from award-winning screenwriter Noah Oppenheim, directed by Oscar-winning filmmaker Kathryn Bigelow, and starring a handful of excellent actors including Rebecca Ferguson, Idris Elba, Jared Harris and Gabriel Basso.

And for the first 20 minutes or so, “A House of Dynamite” delivers. We meet Captain Olivia Walker (Ferguson), the oversight officer for the White House Situation Room, on her way to work, where she’s informed of several significant geopolitical developments involving — separately — China, Iran, and North Korea. Then the US early-warning radar system detects an unidentified intercontinental ballistic missile (i.e. a missile with the capability to carry a nuclear warhead a very long way) already in flight (it missed the launch point, so no one knows who’s responsible for firing it) over the Pacific. At first, it’s assumed to be a routine test by North Korea, so no one really panics. But when the ICBM enters low orbit, and they figure out its likeliest destination will be Chicago, everyone really panics. With less than 20 minutes until impact, there are some horrifying decisions to be made, particularly when the two ground-based interceptors launched to intercept the ICBM fail to do so.

As the countdown to impact heads ever closer, a wave of resignation hits. Those on the video conference call between the Situation Room, the Pentagon, and various armed forces commanders await the decision of the president (Elba) on how to respond to what now seems very likely to be a nuclear attack on the US that will cause tens of millions to die. But with no real knowledge of who’s responsible (both Russia and China deny involvement), can he really decide to launch a nuclear attack of his own to avoid looking weak and inviting further aggression?

We don’t find out because, just before impact, the film jumps back 20 minutes to replay the scene from some different people’s perspectives, including Secretary of Defense Reid Baker (Harris), with snatches of dialogue from previous sections now making more sense as we catch the other ends of the conversations. Twenty minutes later, we do the same again, switching to the perspectives of the president and his entourage. Neat trick. But worth building a movie around?

The story is gripping and terrifying — at least the first time around (it’s hard to get quite as invested once you know what does or doesn’t happen). But because of the limited screen time, none of the excellent cast has a chance to go beyond Acting 101. It all makes for an odd viewing experience; one in which, despite the incredibly high stakes, it feels like there’s no real jeopardy.

In the end, “A House of Dynamite” is — much like America’s missile defense system as portrayed here — an expensive waste of time.


Saudi author Faisal G. Binzagr: ‘I always believed I would be a writer’ 

Saudi author Faisal G. Binzagr: ‘I always believed I would be a writer’ 
Updated 31 October 2025

Saudi author Faisal G. Binzagr: ‘I always believed I would be a writer’ 

Saudi author Faisal G. Binzagr: ‘I always believed I would be a writer’ 
  • The Saudi author is featured in the recently released horror anthology ‘Arabian Nightmares’  

RIYADH: Saudi author Faisal G. Binzagr is among the writers featured in the recently published “Arabian Nightmares,” billed as the first English-language anthology of horror shorts by Arab writers. The project — spearheaded by Lebanese author Daniel Habib and crowd-funded via Kickstarter — brings together a diverse mix of regional voices exploring fear and folklore from an Arab perspective. Binzagr learned about the anthology in 2023 from fellow Saudi author Maram Taibah. 

“Daniel wanted to create the first anthology of horror shorts written by Arab authors. Apparently that’s never been done before and he was shocked by that, so he was, like, ‘Let’s do it!’ It was a great opportunity and I was very happy to be a part of it,” Binzagr tells Arab News. 

His contribution, “The Great Work of Dr Quqazi; or, The Bell,” combines classic horror with distinctly Saudi textures and references — local rituals, internal conflict and the tensions that ripple through families. 

The cover of the horror anthology 'Arabian Nightmares.' (Supplied)

The synopsis on Kickstarter reads: “Smothered by his conservative parents, an aspirational young Saudi teeters on the brink of depression. He turns to his uncle — a man of wisdom and science — seeking treatment, but soon begins to suspect his methods lie at the intersection of science, alchemy… and the occult.” 

It draws some inspiration from Mary Shelley’s “Frankenstein” and Robert Louis Stevenson’s “Strange Case of Dr Jekyll and Mr Hyde,” yet remains firmly rooted in the Saudi imagination. 

Binzagr grew up in a creative family in Jeddah; the late pioneering Saudi artist Safeya Binzagr was among his relatives. And even as a child, Binzagr experimented with stories that blurred the boundaries between imagination and reality. “I was born writing,” he says. “I think I was around two when I started drawing different stories on paper and having my mom write down what I would dictate to her.” 

His American mother, a teacher, encouraged him to think beyond sketches, and toward narrative. 

The poster for Faisal Binzagr's short play 'Arabian Gothic,' performed at Ithra in 2021. (Supplied)

 “There is one pivotal moment in my writing journey that happened when I was around six or seven,” he says, recalling how the cover of Stephen King’s 1981 horror novel, “Cujo,” which features a rabid dog, prompted him to invent his own wild stories about dangerous animals. 

“I remember showing the (stories) to my mom. She was like, ‘No, you have to add narrative around this, some cause and effect, some characters.’ 

“In the moment, I was super defensive about it,” he continues, but after letting it “percolate” he realized she was right. “And from that point on, I paid more attention to character and theme — not theme explicitly … I was a kid, I didn’t know what ‘theme’ was — but sort of ‘What is the story behind the story?’” 

Binzagri wrote his first novel when he was 10 — a story about war, something he was proud to show his maternal grandfather, a US veteran who served in WWII. His entire family applauded his attempt and he hasn’t really stopped crafting stories since. 

Though not solely a horror writer, Binzagr’s work often leans into the eerie, the psychological, and the morally complex, meaning that many people associate him with the genre. “It’s funny to me that I have this reputation in the creative sphere here as being a horror writer, because, actually, this was my first horror story,” Binzagr says. 

“The Great Work of Dr Quqazi; or, The Bell” is another significant step in the author’s lifelong journey.  

“As a kid, I always believed I would be a writer. When I went to university (in the UK), and I started to appreciate the realities of the world, it became clear to me that success in writing is something very difficult to achieve,” he says. “Now my ambitions and strategy are more of a slow burn. I usually find time to write on the weekend or after work — right now it’s a lot slower with my day job, but I’m still chipping away at it.” 

To illustrate that “slow burn” approach, Binzagr cites a story he began in 2019 about the reconciliation of different cultural backgrounds, drawing inspiration from his own American and Saudi heritage. One section involving a character’s son served mainly as a plot device, rather than something drawn from experience. It wasn’t until a couple of years later that the story truly began to take shape and feel personal. 

“The minute my son was born, my whole perspective on that story changed because it became clear to me that this story, from beginning to end, could actually be about fatherhood,” he says. 

Becoming a parent has opened a new chapter in his life, too. Scenes that once explored speculative horror now carry the weight of care and responsibility. His son — now around 18 months old — has reshaped his storytelling lens. His writing style is still deliberate and provocative, but with a tinge of hope. 

“I’m very happy (in life) and I hope that my writing — despite the visceral, intense angles — can facilitate happiness in others, as well,” he says. 


Where We Are Going Today: Chopped in Riyadh

Where We Are Going Today: Chopped in Riyadh
Updated 31 October 2025

Where We Are Going Today: Chopped in Riyadh

Where We Are Going Today: Chopped in Riyadh
  • The true magic of Chopped may lie in its mastery of the underrated

The first thing you notice upon entering Chopped is the quiet. This is a sanctuary for meat, a world away from the clamor of a typical market. The air is cool and carries the clean, serious scent of premium, chilled beef. Your eyes are drawn to the gleaming cabinets, illuminated like museum displays for the world’s finest proteins.

To the right, the deep, ruby-red of a New Zealand striploin promises robust flavor. Further along, the spectacular marbling of an Australian ribeye looks like a frosty landscape, guaranteeing unparalleled richness and tenderness.

It is a display designed for the connoisseur who seeks both quality and a compelling origin, for the best value for money.

Behind the global sophistication lies a deeply local pride. Chopped is a Saudi-grown brand. (Supplied)

Zaid Al-Ahmad, managing director of Chopped, explains that this meticulous curation is for a specific clientele. “Our customer isn’t just shopping for dinner; they are investing in an experience,” he says. “They appreciate the narrative — the grassy pastures of New Zealand in our striploin, the rigorous grading of our Australian Wagyu. They value this story as much as the product itself.”

But the true magic of Chopped may lie in its mastery of the underrated. Alongside the celebrated steaks, you will find the chuck roll and flat iron. The chuck roll, a versatile cut often overlooked, is presented here as a jewel for slow-cooking, its potential for melting tenderness fully explained. The flat iron, a majestic centerpiece, commands attention with its impressive marbling and rich flavor.

Just beyond the meat display, a curated cheese counter extends the same philosophy of excellence. Each wheel and wedge tells a story — from aged Parmigiano Reggiano and creamy French Brie to bold English cheddars and delicate goat cheeses from Europe’s green pastures. This thoughtful selection is not simply about indulgence but about harmony — pairings that elevate Chopped’s premium meats into complete culinary experiences. It is, as Al-Ahmad describes, “the finishing note that transforms quality into craftsmanship.”

Behind the global sophistication lies a deeply local pride. Chopped is a Saudi-grown brand. (Supplied)

He believes this educated approach defines modern luxury. “By offering everything from the exquisite ribeye to the wonderfully adaptable chuck roll, we provide a thoughtful edit of the world’s best at the best value.” Yet behind the global sophistication lies a deeply local pride. “Chopped is a Saudi-grown brand,” Al-Ahmad emphasizes. “We are immensely proud of that. Our goal has always been to bring the best of the world to the Saudi customer — to offer quality and storytelling that meet the standards of our market and reflect its growing appreciation for excellence.

“We make these global flavors accessible, and that is what transforms a simple purchase into a cherished culinary event,” Al-Ahmad concluded.

For more information check their Instagram: @choppedksa.
 


Court orders pro-Palestine protesters in UK to avoid Gal Gadot film shooting

Court orders pro-Palestine protesters in UK to avoid Gal Gadot film shooting
Updated 30 October 2025

Court orders pro-Palestine protesters in UK to avoid Gal Gadot film shooting

Court orders pro-Palestine protesters in UK to avoid Gal Gadot film shooting
  • Actress served in Israel Defense Forces
  • Solicitor: ‘My clients acted entirely in accordance with their rights to freedom of assembly and expression’

LONDON: Pro-Palestine protesters in the UK who allegedly disrupted the production of a Gal Gadot movie have been ordered by a court to avoid film-shooting locations, The Times reported on Thursday.

The eight demonstrators were charged under trade union laws over their alleged disruption of “The Runner,” which features the Israeli actress, who served in the Israel Defense Forces.

At locations in London and outside the capital, protesters allegedly disrupted shooting over several days in May.

The eight individuals were charged under the Trade Union and Labour Relations (Consolidation) Act 1992, and behaved “with a view to compelling another person to abstain from filming, which that person had a legal right to do.”

The act, originally designed to combat pickets during strikes, bans the obstruction of access to a workplace.

On Thursday, Westminster Magistrates’ Court heard that all the cases relating to the eight protesters were adjourned until Nov. 18.

All were released on bail on condition that they avoid entering an area within 200 meters of filming for Gadot’s movie.

Demonstrations against her have featured protesters wearing Palestinian keffiyehs in the capital holding placards saying “trash Gadot not welcome in London” and “stop starving Gaza.” Amid the protests against her, she reportedly considered leaving London.

In Los Angeles in May, Gadot’s name was engraved in a star on the Hollywood Walk of Fame. It was later defaced by graffiti.

Katie McFadden, a solicitor with Hodge Jones & Allen, which is representing four of the alleged protesters, said: “My clients are alleged to have peacefully protested, in a public place, against a film production involving Gal Gadot.

“At all times, they acted entirely in accordance with their rights to freedom of assembly and expression, which are protected by UK law.

“We are disappointed that they have been charged with criminal offences and believe this is a disproportionate, unnecessary and unlawful interference with their rights. We will be defending these charges wholeheartedly.”