From ‘Aladdin’ to Galaxy’s Edge, how Hollywood interprets Arab culture

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From ‘Aladdin’ to Galaxy’s Edge, how Hollywood interprets Arab culture
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'Galaxy's Edge isn’t a love song to the Middle East, but it is a playful take on a region that’s too often written off as simply troubled and dangerous. I’ll take Arab culture as a theme park driver rather than a scare tactic any day.' - LorraineAli

Naomi Scott, left, as Jasmine and Mena Massoud as Aladdin in Disney's live-action adaptation of"Aladdin."

You may, however, spot a fairy princess or three smothered in layers of pink taffeta, adults wielding $200 toy lightsabers and “locals” addressing “travelers” with jargon that as many have pointed out sounds as if it were pulled straight out of a “Handmaid’s Tale” episode. “Bright suns!” Galaxy’s Edge, like “Star Wars” creator George Lucas, was inspired by Islamic architecture, nomadic desert life and cultural markers throughout the Middle East. It borrows from the rugged terrain of Tunisia and Jordan, the chaos of war-torn areas stretching from Sanaa to Gaza and the romance of an exotic Arabia concocted in the backlots of old Hollywood.

And this time around the movie’s villainous, turbaned Jafar is just as hunky as its Westernized hero, Aladdin . Take that, Indiana Jones, whose foes always seemed to be swarthier than his allies. Side note: The “Indiana Jones Adventure” ride is just a few checkpoints and churro stands from Galaxy’s Edge.

"Ramy Youssef: Feelings" follows the success of his breakthrough Hulu sitcom, “Ramy,” where he dramatized his experience growing up in New Jersey into comedic, half-hour episodes that tackled dating while Muslim, terrorism, immigration and racial profiling. In Galaxy’s Edge terms, Amash was being characterized as siding with the wrong side, i.e. Kylo Ren and his Nazi-like sycophants, members of the First Order. Though, it must be noted, Amash’s ancestors undoubtedly dressed more like the scarf-wrapped Rey than the stiff-collared villains.

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