LOS ANGELES: In a wide-ranging interview aired Sunday, Harry and Meghan described painful discussions about the color of their son’s skin, losing royal protection and the intense pressures that led the Duchess of Sussex to contemplate suicide.
The interview with Oprah Winfrey was the couple’s first since they stepped down from royal duties and the two-hour special included numerous revelations.
Harry told Winfrey that he felt trapped by royal life and was surprised that he was cut off financially and lost his security last year. He also said he felt his family did not support Meghan, who acknowledged her naivete about royal life before marrying Harry, as she endured media attacks and false stories.
Meghan, who is biracial, described that when she was first pregnant with son Archie, there were “concerns and conversations about how dark his skin might be when he’s born.” The statement led Winfrey to ask “What,” incredulously and sit in silence for a moment.
In a rare positive moment in the interview, Harry and Meghan revealed their second would be a girl. The interview opened with Winfrey gushing over Meghan’s pregnancy and lamenting that COVID-19 protocols kept them from hugging.
The interview aired Sunday night in the United States, a full day before it will air in Britain. The revelations aren’t over: Winfrey teased additional bits of the interview would be shown Monday morning on CBS.
In response to a question from Winfrey, Harry said he wouldn’t have left royal life if he hadn’t married Meghan, but that it was their relationship that revealed the strictures of royal life.
“I wouldn’t have been able to, because I myself was trapped,” Harry said. “I didn’t see a way out.
“I was trapped, but I didn’t know I was trapped,” Harry said, before adding, “My father and my brother, they are trapped.”
Harry acknowledged that he does not have a close relationship presently with his brother William, who is heir to the throne after their father, Prince Charles.
The prince disputed rumors that he intentionally blindsided his grandmother, Queen Elizabeth II, with his decision to split. He suspects the rumors came from the institution.
“I’ve never blindsided my grandmother,” he said. “I have too much respect for her.”
Meghan, too, was complimentary toward the queen, despite saying at one point she realized some in the palace were willing to lie to “protect other members of the family.”
“The queen has always been wonderful to me,” Meghan said.
Winfrey at various points in the interview ran through headlines about Meghan and at one point asked about the mental health impact. Meghan responded that she experienced suicidal thoughts and had sought help through the palace’s human resources department, but was told there was nothing they could do.
Meghan said she grew concerned about her son not having a royal title because it meant he wouldn’t be provided security.
Meghan said digesting everything during while pregnant was “very hard.” More than the “prince” title, she was the most concerned about her son’s safety and protection.
“He needs to be safe,” a teary-eyed Meghan recalled. “We’re not saying don’t make him a prince or princess, whatever it’s going to be. But if you’re saying the title is going to affect their protection, we haven’t created this monster machine around us in terms of click bait and tabloid fodder. You’ve allowed that to happen, which means our son needs to be safe.”
Meghan said it was hard for her to understand why there were concerns within the royal family about her son’s skin color. She said it was hard for her to “compartmentalize” those conversations.
Harry, too, said there are lasting impacts about Meghan’s treatment and his relationship with his family.
“There is a lot to work through there,” Harry said about his relationship with his father. “I feel really let down. He’s been through something similar. He knows what pain feels like. And Archie is his grandson. I will always love him, but there is a lot of hurt that has happened.”
Harry said the royal family cut him off financially at the start of 2020 after announcing plans to step back from his roles. But he was able to afford security for his family because of the money his mother, Princess Diana, left behind.
Sunday’s interview special opened with Meghan describing how naive she was about the ground rules of royal life before she married her husband, Harry, nearly three years ago. “I didn’t fully understand what the job was,” she said. She also noted that she did not know how to curtsy before meeting Queen Elizabeth II for the first time, and didn’t realize it would be necessary.
“I will say I went into it naively because I didn’t grow up knowing much about the royal family,” Meghan said. “It wasn’t something that was part of conversation at home. It wasn’t something that we followed.”
As Meghan Markle, the actor starred in the TV legal drama “Suits.” She married Harry at Windsor Castle in May 2018, and their son, Archie, was born a year later.
Meghan said she and Harry were aligned during their courtship because of their “cause-driven” work. But she did not fully comprehend the pressure of being linked the prestigious royal family.
“It’s easy to have an image of it that is so far from reality,” she said. “And that’s what was really tricky over those past few years, is when the perception and the reality are two very different things. And you’re being judged on the perception, but you’re living the reality of it. There’s a complete misalignment and there’s no way to explain that to people.”
At the top of the interview, Winfrey ran through several key points: that the production was following strict COVID-19 protocols, no topic was off limits and that Meghan and Harry were not being paid for the special.
Royal interviews that aren’t tied to a specific topic are rare, and prior televised sessions have often proved problematic. Prince Andrew’s 2019 BBC interview about his links with convicted sex offender Jeffrey Epstein led to his own departure from royal duties after he failed to show empathy for Epstein’s victims.
Harry and Meghan’s departure from royal duties began in March 2020 over what they described as the intrusions and racist attitudes of the British media toward the duchess.
In Britain, the interview is seen as poorly timed. It will air while Harry’s 99-year-old grandfather Prince Philip remains hospitalized in London after undergoing a heart procedure.
It is unclear what public reaction, if any, the queen and other royal family members will have to Sunday’s interview. The UK’s Sunday Times newspaper, citing an anonymous source, reported that the queen would not watch it.
Meghan and Harry interview with Oprah lays bare royal rift
https://arab.news/6y6s3
Meghan and Harry interview with Oprah lays bare royal rift
- Harry: my father Prince Charles stopped taking my calls
- Interview with Oprah Winfrey follows break with royals
Arabs cheer on newly crowned Miss Universe Victoria Kjaer Theilvig
DUBAI: Arabs around the world congratulated Victoria Kjaer Theilvig who was crowned Miss Universe 2024 on Sunday, becoming the first contestant from Denmark to achieve the honor.
The dancer, entrepreneur, and animal rights activist beat out more than 120 contestants in the pageant's 73rd edition held in Mexico City, two years after she visited the UAE and posed for snaps in Dubai’s desert surroundings on holiday.
“I have been waiting for my whole life for this moment,” she said during the swimsuit round of the pageant.
“No matter where you come from, no matter your past, you can always choose to turn it into your strengths,” she also said on the Miss Universe stage.
X user Asia Alwasity echoed several other commentors who praised Theilvig’s apparent lack of cosmetic surgery. “She deserves it, she is a natural beauty with no cosmetic surgeries done,” she wrote in Arabic.
Another X commentor, @goodluck11974, wrote in Arabic, “Her beauty is wow, her face reminds us of the old natural beauty with no fillers or surgeries.”
Many social media users commented on Theilvig’s “exceptional beauty,” inside and out.
“Beauty is not just about looks, but about a strong, confident personality, and this beauty embodies these in every detail,” wrote X user @alzhrany60092.
“Congratulations to this beauty, she makes history with her exceptional beauty,” wrote X user @zyz51618 in a translated post.
Other social media users called Theilvig as pretty “as a Barbie,” with numerous commenters comparing Theilvig to the iconic doll.
Dressed in a pink glittering gown, the 21-year-old from Soborg was crowned by Miss Universe 2023 Sheynnis Palacios from Nicaragua, in Mexico City on Sunday.
Crafted by Jewelmer, the crown features golden South Sea pearls, the national gem of the Philippines. Named the “Lumiere de l’Infini) tiara, the crown displays a radiant sunburst motif at its heart.
First runner-up was Chidimma Adetshina, a law student representing Nigeria, followed by Maria Fernanda Beltran of Mexico, Suchata Chuangsri of Thailand, and Ileana Marquez of Venezuela.
An avid traveller, Thielvig seems to enjoy visiting cities across the world — including Dubai in the UAE. In January 2023, she took to Instagram to post a picture of herself posing on a dune buggy in the vast deserts of Dubai. “
Adventure in the desert,” she captioned the post, along with a camel emoji.
‘Fictional Landscapes’ exhibition brings together 28 women artists in Dubai
DUBAI: Set to run until Dec. 15, art exhibition “Fictional Landscapes” features the work of 28 women artists from across the world at Foundry Downtown Dubai in the UAE.
The show brings together creatives from the UAE, Russia, Iran, Armenia, India, Pakistan, Ukraine, Kazakhstan, Indonesia, Iceland, the US and beyond in a bid to explore the commonalities between women’s experiences.
Led by a three-person curatorial team — Nadine Khalil, Alisa Bagdonaite, and Serafima Kostrova — organizers made a point of working with women-led galleries.
The show “offers a platform for voices that have historically been underrepresented, particularly women artists interpreting landscapes through their own cultural lens,” Bagdonaite told Arab News, adding that the project aims to “(amplify) 28 women’s voices in a way that is recognized on a global scale.”
The exhibition features both established and emerging artists, including Anna Afonina, Maryam Ashkanian, Mary Badalian, Anna Fobia, Anna Komarova, Liudmila Konstantinova, Taisia Korotkova, Olya Kroytor, Lilia Li-Mi-Yan and Katherina Sadovsky, Katerina Lukina, Oksana Mas, Almagul Menlibayeva, Irina Nakhova, Lisa Olshanskaya, Alexandra Paperno, Vasilisa Palianina, Lidia Russkova-Hasaya, Diana Shliman, Sofya Skidan, Olga Tatarintsev, Irina Zatulovskaya, and Asia Zaslavskaya well as UAE-based artists Richi Bhatia, Olia Breva, Sophiya Khwaja, Sara Masinaei, and Fatima Uzdenova.
“Despite the varied geographical and socio-political backgrounds of the artists showcased in ‘Fictional Landscapes,’ a shared resonance emerges, creating a cohesive narrative that transcends individual origins,” Bagdonaite said.
Through a range of media, including textile, video, painting, and performance, “Fictional Landscapes” explores how environments extend beyond physical terrains to embody mental and emotional spaces shaped by memory, identity, and migration.
“(We) prioritized diversity in artistic medium and perspective, selecting artists from various regions who engage in both traditional and innovative forms … the artists were not only chosen for their aesthetic contributions but also for their commitment to examining challenging topics like migration, identity, changing landscapes and gender dynamics, all through the lens of womanhood and resilience,” Bagdonaite explained.
“What is so pertinent in ‘Fictional Landscapes’ is that the artists’ works collectively evokes a conversation around mutual discovery and understanding, enabling a richer, more intriguing experience,” she added.
When asked to share a particular piece that resonated with her, Bagdonaite pointed to Alexandra Paperno’s “Canceled Constellations.”
“(It) represents constellations that were once recognized and named but later ‘canceled’ by the International Astronomical Union in 1922. This project speaks to the human tendency to draw boundaries — even in the stars — while also reminding us of what remains beyond our control and unites us all.”
‘Manzar’ exhibition in Qatar puts spotlight on Pakistani art and architecture through the ages
- Exhibition features more than 200 paintings, videos, sculptures and installations from the 1940s to the present
- Exhibition will run at the National Museum of Qatar until Jan. 31, 2025
DOHA: A three-month art and architecture exhibition in Doha featuring the works of renowned Pakistanis from the 1940s to the present highlights the South Asian country’s diverse art scene and brings the evolution of art and architecture in the region to a global audience.
Titled “Manzar,” which can be translated from Urdu to mean scene, view, landscape or perspective, the exhibition includes more than 200 paintings, drawings, photographs, videos, sculptures, installations, tapestries and miniatures from celebrated Pakistani artists. It has been organized by an Art Mill Museum team and will run at the National Museum of Qatar until Jan. 31, 2025.
Pakistani Prime Minister Shehbaz Sharif, Qatar’s Emir Sheikh Tamim bin Hamad Al-Thani and his sister, Sheikha Al Mayassa Al-Thani, inaugurated the exhibition in Doha last week.
“Pakistan’s art scene is less well known in the world compared to other art scenes and for us art historians it is absolutely fascinating to be able to share it with the world,” Caroline Hancock, senior curator of modern and contemporary art at the Art Mill Museum, told Arab News.
“We wanted to recount an expansive notion of this place, not limited by drawn and imposed borders, but true to the porosity and transnational interconnections of cultural expressions (in Pakistan).”
Zarmeene Shah, director of graduate studies at the Indus Valley School of Art and Architecture in Karachi, the co-curator for Manzar, described the exhibition as “exceptionally significant.”
“Because we never see such a body of noteworthy work come together in a single space, as most of these artworks live in private collections, inaccessible to the public, which is why Manzar offers an incomparable opportunity for audiences to engage with these masterpieces, and to explore how art and architecture have responded to, and reshaped, the nation’s social and political narratives,” Shah told Arab News.
“Our aim is to start a conversation and not provide a definitive showcase.”
The exhibition, designed by eminent Pakistani architect Raza Ali Dada, integrates architecture and art to chart the thought processes, resistance struggles and achievements of the artistic and architectural community of the South Asian country.
The exhibition runs thematically and opens with works by pioneering artists such as Abdur Rahman Chughtai and Zainul Abedin, who produced stellar works of art during British colonial rule from 1858-1947 and continued after Pakistan was born as a separate nation out of united India.
Indeed, the partition of 1947 is a significant theme for many Pakistani artists at the exhibition, including Anna Molka Ahmed, Zarina and Bani Abidi. The exhibition also features the aesthetic experiments of artists such as Shakir Ali, Zubeida Agha, Murtaja Baseer and Sadequain, whose deeply personal modes of expression are rooted in the vibrant urban centers of Karachi, Lahore, Dhaka, and the twin cities of Rawalpindi and Islamabad, which embody diverse artistic responses to historical and cultural shifts in the region.
Zahoor Ul-Akhlaq, Imran Mir and Rasheed Araeen — known for their multidisciplinary approaches, involvement in educational initiatives, and theoretical writings challenging Western art history and traditions at home and internationally — are also featured, as are influential figures of different generations such as Salima Hashmi, Quddus Mirza, Lala Rukh, Aisha Khalid and Durriya Kazi.
Important diaspora artists whose work is part of the exhibition include Naiza Khan in London, Ruby Chishti, Huma Bhabha, Iftikhar and Elizabeth Dadi and Salman Toor in New York, Bani Abidi in Berlin, Basir Mahmood in Amsterdam, Seher Shah in Barcelona and Khadim Ali in Sydney.
The exhibition also sheds light on contributions by foreign architects who reshaped Pakistan’s landscape and articulated the ambitions of its institutions through landmark projects. These include French artist Michel Ecochard, who designed the first university in the southern city of Karachi, and Greek artist Konstantínos Doxiadis, the lead architect who planned Pakistan’s capital Islamabad.
Manzar also explores Pakistan’s engagement with the debate on regionalism in architecture through the works of influential architects such as Nayyar Ali Dada and Kamil Khan Mumtaz from Lahore, alongside Yasmeen Lari, Habib Fida Ali, and Arif Hasan from Karachi.
The exhibition extends to the courtyard of the Palace of Sheikh Abdullah Al-Thani with a range of outdoor and indoor installations, as well as a film and video program. Renowned architect Yasmeen Lari, who works in the intersection of architecture and social justice, has exhibited bamboo shelters designed as emergency open-source housing for flood victims, in collaboration with the Heritage Foundation of Pakistan.
Additionally, the art collective Karachi LaJamia is exhibiting a project addressing the environmental crisis in the province of Sindh. Many of these contemporary projects emphasize the themes of sustainability and ecology, reflecting a growing urgency to address environmental issues through art and architecture.
“Manzar is an exhibition that truly reflects how everyone from the discourse of art and architecture seem in constant conversation, in dialogue about the environment, either the political environment or the ecological environment,” Karachi-based architect Marvi Mazhar said during a panel discussion, saying Manzar had brought into the spotlight the political and ecological changes the region has undergone through the decades.
“We have always faced heartbreaks, be it the partition, or the formation of East Pakistan (present day Bangladesh) or other movements such as the politics of land and water. Yet historically we collectively ride the tide, through forging diverse practices and sensitivity to their connection to the wider history of modern and contemporary art.”
Egypt’s Logina Salah makes history at Miss Universe pageant
DUBAI: Miss Universe Egypt Logina Salah made history when she broke into the top 30 at the grand finale of the Miss Universe 2024 beauty pageant, held in Mexico City on Sunday, making it the first time her country has made a placement in the event's 73 year history.
The glittering night came to a close with Miss Denmark Victoria Kjaer Theilvig taking home the crown — a first for a Dane. The 21-year-old, a competitive dancer, entrepreneur, and aspiring lawyer, beat more than 120 other contestants to win the annual beauty pageant.
Miss Nigeria Chidimma Adetshina was named first runner-up, and Miss Mexico Maria Fernanda Beltran was named the second runner-up. Contestants from Thailand, Bolivia, Venezuela, Argentina, Puerto Rico, Russia, Chile, Canada and Peru also made it to the top 12.
This year’s finale featured a performance by singer Robin Thicke and was hosted by “Saved by the Bell” star Mario Lopez and former Miss Universe Olivia Culpo.
Other contestants from the Middle East and North Africa region included the UAE’s Emilia Dobreva, Bahrain’s Shereen Ahmed, Lebanon’s Nada Koussa, and Iran’s Ava Vahneshan.
The pageant, in its 73rd year, also now sees married women and mothers compete.
“I feel like the world is getting closer to including everybody. It wasn’t allowed for moms to participate, or any woman above 30, and I didn’t like participating in ‘moms pageantry’; I do not like labeling,” Salah, who is based in Dubai, said in an earlier interview with Arab News of the rules that changed in 2023.
She added: “When those restrictions were lifted, I saw it as the perfect opportunity. Pageantry was always on my mind, but I always said, ‘Let me keep it for my daughter, maybe she would be interested.’ I used to dream about it, but now the dream came back to life. I applied, and, thank God, I made it to Miss Universe!”
Reflecting on her journey with vitiligo, Salah highlighted the power of living as an example. “I do not come every day and talk about vitiligo on my platform, but living my life fearlessly and unapologetically is a message to people,” she said.
“When someone comes across my profile and they see me living fearlessly, this is an inspiration. So, I do both. I like to go out and inspire, not only for people with vitiligo, but for all young girls and women.”
Through ‘Haryali’ art exhibition, Denmark calls for urgent environmental action in Pakistan
- Danish embassy organizes exhibition featuring artworks by 36 Pakistani artists against global warming, pollution
- Pakistan consistently ranks among countries affected most by climate change, where floods killed over 1,700 in 2022
ISLAMABAD: The Embassy of Denmark in Pakistan’s capital this week organized a powerful art exhibition that called for urgent environmental action to battle climate challenges, with the European country’s ambassador pledging support for Islamabad in transitioning to renewable energy.
Pakistan is one of the world’s worst affected countries due to the impacts of climate change, despite contributing less than one percent of planet-warming emissions. Unusually heavy rains in June 2022 killed over 1,700 people, destroyed critical infrastructure in the country and affected over 33 million people which scientists attributed to climate change.
“Haryali,” which translates to greenery in Urdu, was the name chosen for the exhibition which took place at the Danish ambassador’s residence in Islamabad on Friday night. The exhibition was held to mark 75 years of Pakistan’s diplomatic relations with Denmark at a time when various world leaders have gathered in Baku to attend the COP29 climate conference.
The exhibition featured artworks by 36 Pakistani artists, who highlighted the disastrous effects of climate change and global warming through sculptures and paintings.
“Pakistan is one of the countries in the world suffering the most from climate change and action needs to be taken,” Danish Ambassador Jakob Linulf told Arab News on Friday.
“And this is not something that Pakistan can do by themselves, and from the Danish side we are ready to help with all the expertise that we have gained through our battle also to make a greener society.”
Linulf said Denmark uses solar, wind, water and biomass to generate electricity, adding that Pakistan has an abundance of all of these resources.
“I would love to see Pakistan transforming its energy sector into a more sustainable energy sector,” he said.
Iman Bilal, a Pakistani sculptor, highlighted the health dangers associated with microplastics.
“We’re deteriorating our health, it’s internalized,” she said, stressing the role of art in motivating stakeholders to take action to avoid environmental degradation.
Kareem Ahmed Khan, an artist from the scenic Hunza Valley in northern Pakistan severely impacted by glacial lake outburst floods (GLOFs), reflected on climate change’s devastating impact on his region.
“For the past seven to eight years, I’ve been working to highlight the impact of climate change on my region,” Khan told Arab News.
Pakistani Prime Minister Shehbaz Sharif, who spoke at a number of events at COP29 earlier this week, used the forum to highlight the need to restore confidence in the pledging process and increase climate finance for vulnerable, developing countries.
