Would Madinah Become Saudi Arabia’s ‘City of Lights’?

The Prophet’s Mosque in Medina, Saudi Arabia. Photographer: Roslan Rahman/AFP/Getty Images
The Prophet’s Mosque in Medina, Saudi Arabia. Photographer: Roslan Rahman/AFP/Getty Images
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Would Madinah Become Saudi Arabia’s ‘City of Lights’?

The Prophet’s Mosque in Medina, Saudi Arabia. Photographer: Roslan Rahman/AFP/Getty Images
The Prophet’s Mosque in Medina, Saudi Arabia. Photographer: Roslan Rahman/AFP/Getty Images

Since the second half of the 19th century, Paris’ inhabitants and visitors have known it as the city of lights (La Ville Lumière). Some historians suggest the name was given to the French capital because it was a hub for culture and intellect during the Age of Enlightenment, and its early adoption of a street light system after Napoleon’s demolition of Middle Ages’ neighborhoods and routes to make a modern city with advanced lighting.

Today, one century later, would Al Madinah Al Munawwarah in Saudi Arabia become this era’s city of lights?

This question is becoming more and more valid after Al Madinah Region Development Authority (MMDA) approved an inclusive study to upgrade and renew lightning with the help of global experiences and expertise in creative lighting solutions. The study has been conducted upon the directives of Madinah Governor and MMDA Chair Prince Faisal bin Salman bin Abdulaziz.

The Start with the surrounding of The Prophet’s Mosque

The first phase of the study is supposed to target the surrounding of The Prophet’s Mosque and expand gradually to include all the vital landmarks and sites in Madinah. It aims at creating a unique identity that suits the identity of Al Madinah Al Munawwarah, as well as offering inhabitants and visitors new, inspiring visual experiences that meet the Quality of Life Programs and promote more opportunities in tourism, trade, and investment in the region.

Religious significance of Madinah

Eng. Fahad Albuliheshi, MMDA chief executive, said the foundations of the study project to renew and upgrade the lighting identity of Madinah, takes into consideration “its religious significance for Muslims, and highlights the interest the government gives to the two holy cities and mosques.”

The relative feature and unique, urban architecture of Madinah “makes it a priority to renew and upgrade the lighting in the city with development and enhancement plans that benefit from global experiences and expertise in the lighting solution sector to help improve the inhabitants’ life quality and enrich the experience of people visiting the city of the Prophet (Pbuh). These plans come as part of the programs dedicated to serving visitors and promoting the system of service and public facilities in the city,” he told Asharq Al-Awsat.

Model studies to shed light on Madinah’s landmarks

When asked about the project and its role in highlighting the city’s landmarks, Albuliheshi said that “we decided to benefit from previous expertise in architectural lighting to achieve model studies that highlight the landmarks of Madinah and improve the urban and visual landscape, enhance the major elements in the historic buildings and sites, benefit from visual effects to enhance serenity and inner peace for visitors in the pedestrian lanes, limit the annoying impact of random lighting, in addition to all the social benefits that modern lighting could bring to the city.”

Lightning quality that “boost environmental sustainability”

Because unique models require critical efforts that focus on results and enhance sustainability, MMDA chief executive assured that “the initiative will consider the right and wise distribution of lights, and the quality of lighting that suit the consumption demands. The plan will also focus on energy consumption rationalization in a way that enhances environmental sustainability, improve the quality of lighting elements and towers for less maintenance and cost, and finally highlights the importance of the city’s landmarks and sites including those related to the Prophet and his journey.”

Life after sunset doesn’t stop

“The social and economic life becomes much better with good lighting that maintains public safety and encourages people to meet in public places and routes in a healthy way,” Howayda Al-Harithy, a Professor of Architecture and Urban Design at the Department of Architecture and Design (ArD) at the American University of Beirut (AUB) told Asharq Al-Awsat.

She said that “the first phase will be short and will focus on the central area, then, we will move to the second, larger phase.” Harithy expected the project “to be unique and pioneering in Saudi Arabia and the region,” noting that “it’s going to be an inclusive study project that benefits from high-end technologies and represents a new model for all the Saudi regions and cities.”

As an engineer and architect, Harithy stressed that lighting plays a major role in building and empowering the spatial memory, mainly in cities, and called for benefitting from “advanced technology whether alternative energy resources or smart lighting systems that control the power and colors of the light as well as energy distribution.”

Befitting from global expertise

Professor Howayda Al-Harithy revealed that the MMDA has been assessing lighting models from several countries and cities around the world, and has contacted MIT Professor Carlo Ratti specializing in city lighting and manager of many successful projects in Italy and the United States to benefit from his large expertise in this field and his MIT-based lab in Cambridge.

It’s worth mentioning that the Madinah Regional Municipality had already renewed the lighting systems several times in the city of 1.2 million inhabitants, by restoring lights on streets and neighborhoods using LED technology in order to rationalize electric consumption, avoid carbon emissions, and unify visual identity.



'No Divisions, No Borders', French Astronaut Says of Seeing Earth

European Space Agency (ESA) French astronaut Sophie Adenot cries while speaking to the media as she returns to Europe, following the return of NASA's SpaceX Crew-12 mission to Earth after nearly eight months in space, in Cologne, Germany, October 10, 2026. REUTERS/Thilo Schmuelgen
European Space Agency (ESA) French astronaut Sophie Adenot cries while speaking to the media as she returns to Europe, following the return of NASA's SpaceX Crew-12 mission to Earth after nearly eight months in space, in Cologne, Germany, October 10, 2026. REUTERS/Thilo Schmuelgen
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'No Divisions, No Borders', French Astronaut Says of Seeing Earth

European Space Agency (ESA) French astronaut Sophie Adenot cries while speaking to the media as she returns to Europe, following the return of NASA's SpaceX Crew-12 mission to Earth after nearly eight months in space, in Cologne, Germany, October 10, 2026. REUTERS/Thilo Schmuelgen
European Space Agency (ESA) French astronaut Sophie Adenot cries while speaking to the media as she returns to Europe, following the return of NASA's SpaceX Crew-12 mission to Earth after nearly eight months in space, in Cologne, Germany, October 10, 2026. REUTERS/Thilo Schmuelgen

French astronaut Sophie Adenot went through "all human emotions, from the most joyful to the hardest" during her eight months in space, she said back on solid ground on Saturday in Germany.

Adenot splashed down in the Pacific Ocean Thursday off the coast of California in the Dragon capsule that carried Crew-12, having returned to Earth from a mission on the International Space Station (ISS), Agence France Presse reported.

She had spent a total of 235 days in space, breaking the record for the longest uninterrupted orbital stay by a European astronaut.

At 400 km away from Earth, Adenot could see there are "no divisions, no borders" but "just a precious planet that we all share," she said Saturday on the tarmac of the European Space Agency (ESA) training center in Cologne, occasionally in tears.

The 44-year-old astronaut looked visibly weakened on her arrival in Germany and was assisted by two ESA physicians.

In space, the body adapts to the absence of gravity, which leads to bone loss, muscle wasting, cardiovascular deconditioning and even visual problems.

Adenot must now begin an intensive recovery program of about three weeks to regain her pre-flight condition.

"It's a cocktail of astonishing emotions, it's incredible. It's great to be back on Earth, but it also comes with its share of challenges, especially physiological ones," she told a press conference.

She also described the "difficult" moment of Thursday's splashdown, when the capsule bringing back the four astronauts on her team had to endure "a lot of waves for 25 minutes.”

"And when the commandos pulled me out of the capsule, the first thing I said to them was, 'Send me back to space, please!' It was much easier up there," she added.

During the mission, Adenot became the first French female astronaut to venture outside the space station for a spacewalk. In all, she undertook three spacewalks on August 18 and 25, and September 1.


Wolf Near Athens Removed after Suspected Attacks

An ambulance leaves Corinth General Hospital, in Greece, Friday, Oct. 9, 2026. (AP Photo/Vasilis Psomas)
An ambulance leaves Corinth General Hospital, in Greece, Friday, Oct. 9, 2026. (AP Photo/Vasilis Psomas)
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Wolf Near Athens Removed after Suspected Attacks

An ambulance leaves Corinth General Hospital, in Greece, Friday, Oct. 9, 2026. (AP Photo/Vasilis Psomas)
An ambulance leaves Corinth General Hospital, in Greece, Friday, Oct. 9, 2026. (AP Photo/Vasilis Psomas)

Greek conservation groups have caught and removed a male wolf suspected of links to attacks on joggers in Mount Parnitha near Athens in recent months, officials said late on Thursday.

The move was authorized by the environment ministry after the animal allegedly attacked and slightly injured a jogger in a forested area of the rural town of Kryoneri, northeast of the capital, on September 24, the Callisto group said, according to AFP.

"After a lengthy chase during the night of October 5 to 6, 2026, the male wolf that had alarmed the residents of the Kryoneri, Varybobi and Olympic Village settlements in recent months due to his frequent appearances within the urban fabric was successfully and safely tranquilized," the group said.

The wolf had been fitted with a tracking collar in July and returned to the woods but it continued to return to urban areas near Mount Parnitha, mainly to prey on stray cats, Callisto said.

"(It) continued to display bold behavior, even following citizens at close range," the group said.

The wolf allegedly attacked a jogger in February and again in September.

It was taken to a wolf sanctuary operated by the Arcturos wildlife organization in northern Greece.

Wolves are protected in Greece under the Bern Convention, to the consternation of many farmers who claim their numbers have swelled in recent years.

The population stands at 2,075 individuals, mainly in the north of the country, according to a recent study by Callisto.

In mid-August, a female wolf suspected of having attacked and injured a four-year-old child near Thessaloniki was also captured.

She was found to be missing a leg and was in poor health.

In September 2025, another wolf reportedly attacked and injured a five-year-old girl near a seaside resort in Chalkidiki, northern Greece.

On its website, Callisto explained that wolves inhabited remote areas far from people when suitable wild prey is abundant there. But when that natural habitat is destroyed, they move closer to areas where they could find food.

In Greece, "populations of wild ungulates that could naturally sustain wolves-such as roe deer and wild boar-remain relatively sparse...

"As a result, wolves in Greece currently depend to a significant extent on livestock, refuse dumps, animal carcasses originating from slaughterhouses and livestock farms, and other human-associated food sources," it explained.


After 20 Years, Sofia Coppola’s ‘Marie Antoinette’ Movie Has Come Home to Versailles

Filming Kirsten Dunst as Marie Antoinette on set (imdb)
Filming Kirsten Dunst as Marie Antoinette on set (imdb)
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After 20 Years, Sofia Coppola’s ‘Marie Antoinette’ Movie Has Come Home to Versailles

Filming Kirsten Dunst as Marie Antoinette on set (imdb)
Filming Kirsten Dunst as Marie Antoinette on set (imdb)

Paris: Laura Cappelle

In 2006, the American director’s whimsical, candy-colored “Marie Antoinette” divided audiences with its Manolo Blahnik shoes and contemporary soundtrack. Yet the film has since become a classic, and Versailles is honoring its 20th anniversary with an exhibition at the Petit Trianon, the small chateau on the royal estate given to the queen for her private use in the 1770s, where part of “Marie Antoinette” was filmed.

Curated by Hélène Delalex and Laurent Salomé and running through Jan. 24, the show brings back Milena Canonero’s Oscar-winning costumes alongside props, sketches and photographs. In Marie Antoinette’s private rooms, mannequins recreate some of the movie’s frames.

And Coppola is revisiting “Marie Antoinette” onscreen, too. As she made the film 20 years ago, someone was watching closely: her mother, Eleanor, who shot almost 100 hours of behind-the-scenes footage with the goal of making a documentary.

Eleanor Coppola died in 2024 without completing the project, but her daughter has completed it for her. The movie “Making Marie Antoinette,” a time capsule of the film and of a young director finding her way, will be released in US theaters on Oct. 23.

In a recent video interview, Coppola, 55, talked about stepping back into Versailles, fighting for the film’s female perspective and watching hip-hop cut-ups of “Marie Antoinette” on TikTok. These are edited excerpts from the conversation.

Were you surprised when Versailles reached out to you about this exhibition?

Yes, I was really surprised — it was like being offered the Petit Trianon to put our posters up. It was surreal to be there again, in the real home of Marie Antoinette, with the costumes from our version.

I thought it was cool that the curators were interested in the preparation materials and research, so I was excited to open up the boxes that I had in my storage at my family home in Napa Valley. Anne Seibel, the art director, also saved a lot of things, and Milena Canonero, our great costume designer, tracked down different pieces and put the accessories together to bring it all back. We even recreated some of the lighting that was used in the film.

What do you remember about how you felt while making it?

It was really stressful and overwhelming, because I’d never taken on anything of that scale. There were just so many people there in order to pull it off, so many extras and crew. I think I had that sort of youthful naïveté — I don’t think I would take on something like that now.

But I had a really clear vision in my head, and I was really trying to do a different kind of period movie. The ones that I had grown up with were very big tableaux, based on paintings. I always felt like you were looking back at history, and I wanted this to feel like you’re jumping back in time and you’re alive with the characters. When I visited the real private rooms of Marie Antoinette, I was struck by the fact that the fabric was this bright turquoise color. At that time, you never saw that in period films: It was always muted, dusty earth tones.

The depiction of ennui and aimlessness connects it to some of your other films. What did you draw on to bring it to life?

I was trying to imagine what Marie Antoinette’s emotional life was like, and I could see parallels in LA at the time when I was writing the script in the early 2000s. I saw women shopping when they didn’t have anything else to do, to fill their time. It was my version of what I could imagine that might be like.

Were you taken aback by the controversy over the anachronisms in the movie when it came out?

It was disappointing that some people were really offended by it. To me, it’s hard to imagine that the modern music was so offensive to people, and it’s done a lot now. I knew that it was a little bit obnoxious and rebellious for an American to make that story, but you don’t ever really know how things are going to be received.

You lived in France for a few years after “Marie Antoinette.” What is your relationship nowadays to the country?

My husband [Thomas Mars, of the band Phoenix] is actually from Versailles. Their home was right down the street from the Petit Trianon. They moved away in more recent years, but we had holidays there, which was wild. My daughter Romy was born in Paris, and I feel really grateful that I still get to spend time there. I grew up with French New Wave films, and I’ve always felt supported by French culture.

The film’s reputation seems to have changed considerably since its release. Do you feel that?

Definitely. I feel like it has a whole new audience of young people. My daughters show me these edits to hip-hop songs on TikTok, which I love. It’s been a fun surprise, because usually your movies aren’t talked about afterward. A lot of mothers and daughters say that they watch it together, or men come up to me and say that that was their gay coming-out.

The film has a strong female gaze, and that registers differently today. Did you have to fight for that perspective when you made it?

My mom shot almost 100 hours of documentary footage on set. I helped edit it recently, and there’s a lot of me pushing for the female point of view of the story. That was really important to me, and it was interesting to see that men on the crew did not understand this idea or were resisting it. It just didn’t exist in filmmaking at that time. Nowadays, the guys I work with are much more open.

The documentary you edited based on your mother’s footage, “Making Marie Antoinette,” will be out in the US in October. Why did it take so long to come back to it?

Only a very small amount was used for a DVD bonus at the time, and we went on with our lives — I was having kids and I forgot about it. Then during the pandemic, my family was all together at home in Napa. My mom got the footage out to look at it, and I had never seen it before. It was amazing for me to see like all the details that she caught, all of the craftsmanship: the costumes, the wigs, the flowers.

And she really wanted to do something with it. She passed away two years ago now, but at the end of her life, it was really important to her that we got this film done. I promised her that I would. I’ve worked a lot this last year with an editor and a friend of my mom’s, trying to think of how she would want it made — even though it’s hard for me to have perspective, because I’m in it, and it’s embarrassing to see my young self.

Why?

I am not as assured of asserting myself. I’m kind of finding my way as a young director. And I thought maybe that would be interesting for other young people interested in film, to see that there is a process of how you evolve as a creative person.

It’s also me seeing through my mother’s eyes, her watching her daughter work. It was very emotional to work on, and I felt like it was a gift that she left for me.

The New York times