On 14 April 2025, Blue Origin’s New Shepard NS-31 mission lifted off from Corn Ranch in West Texas, marking what many hailed as a historic moment: the first all-female crewed mission to space since Valentina Tereshkova’s groundbreaking solo flight in 1963. But amid the celebration, the mission has also sparked debate over the true accessibility and purpose of commercial space travel in the modern era.

The suborbital flight, lasting approximately 10 minutes and 21 seconds, carried six women aboard—a diverse group comprising former NASA aerospace engineer Aisha Bowe, civil rights activist Amanda Nguyen, journalist Gayle King, pop superstar Katy Perry, film producer Kerianne Flynn, and pilot and broadcaster Lauren Sánchez, who is also the mission’s curator. The spacecraft soared beyond the Kármán line—106 kilometres above Earth—offering the crew a few weightless minutes before descending safely back to Earth under parachutes.

Each crew member brought with her a distinct narrative. Bowe became the first Bahamian in space; Nguyen, a Nobel Peace Prize nominee and advocate for sexual violence survivors, made history as the first Vietnamese-American woman in space. King overcame her well-documented fear of flying, Perry brought international celebrity attention to the launch, Flynn championed the role of women in film and storytelling, and Sánchez leveraged her aviation experience to coordinate the mission’s message of empowerment.

Once weightless, the crew declared, “Take up space,” as a unifying slogan, with Perry serenading the cabin with “What a Wonderful World.” Their flight was attended by a host of celebrities, including Oprah Winfrey, who celebrated King’s participation, and Orlando Bloom, Perry’s partner.

What Did This Mission Really Accomplish?

While Blue Origin lauded the flight as a milestone for representation and inspiration, critics have questioned its actual significance. Unlike orbital missions that conduct scientific experiments or contribute to space station logistics, NS-31 was purely touristic—lasting barely over ten minutes. The mission did not carry research payloads, technological tests, or humanitarian goals beyond symbolism.

For some, the symbolism is meaningful—showcasing diverse women in a domain long dominated by men. For others, it’s a reminder that space, at least for now, remains the playground of the ultra-wealthy. With tickets costing hundreds of thousands of dollars, the average citizen is far from “taking up space” in any literal sense. Even among private citizens who’ve travelled to space, most come from elite circles of wealth, influence, or celebrity.

Backlash and “Tone-Deaf” Optics

The presence of Katy Perry on the mission drew particular scrutiny—not only because of her fame, but due to a post-flight moment that quickly went viral. Upon exiting the capsule, Perry was seen kissing the ground. While intended to be a gesture of gratitude, it was widely criticised online as performative and out of touch. Many on social media argued that her behaviour trivialised the accomplishment and reflected a lack of awareness of broader global issues, including poverty, war, and climate crises.

Actress Olivia Munn added to the critique, calling the mission “indulgent” and “tone-deaf” given the world’s current struggles. She questioned whether such ventures truly serve humanity or merely stroke the egos of those wealthy enough to afford a seat.

The controversy surrounding Perry also reignited debates about the optics of celebrities participating in what are framed as inspirational missions. While the intention may be to democratise space, the reality—obvious to many observers—is that access remains limited to those with the right bank account or connections.

A Step Forward or a Missed Opportunity?

Despite the criticism, the NS-31 mission remains notable for its emphasis on gender representation and public visibility. It proved that female-led missions can capture global attention and inspire a new generation of space enthusiasts. But whether that inspiration translates into real progress toward inclusive access to space remains to be seen.

For now, missions like NS-31 exist in a grey zone—caught between progress and privilege. While they undeniably advance the visibility of women in spaceflight, they also highlight the economic exclusivity still inherent in the sector. Until tickets are accessible to scientists, educators, and citizens without celebrity or corporate backing, the dream of universal space travel remains aspirational, not actual.

As Blue Origin prepares for its next flight, the world will be watching—both to see who gets to go, and what they choose to do with their moment among the stars.

Amazon’s acquisition of MGM in 2022 marked a significant shift in the entertainment industry, and recent developments indicate that this integration is leading to substantial changes within Amazon MGM Studios.

On March 27, 2025, Jennifer Salke, the head of Amazon MGM Studios, announced her departure to establish a new production entity. Salke, who joined Amazon in 2018 after serving as president of NBC Entertainment, played a pivotal role in developing successful projects such as “The Lord of the Rings: The Rings of Power.” Her exit aligns with Amazon’s strategy to streamline decision-making processes within the studio. Following her departure, Courtenay Valenti (head of film) and Vernon Sanders (head of TV) will report directly to Mike Hopkins, head of Prime Video and Amazon MGM Studios. Salke has also secured a first-look deal with Amazon MGM Studios for her new venture.

In a move that underscores Amazon’s commitment to revitalizing its newly acquired assets, the company has taken creative control of the James Bond franchise. Longtime producers Barbara Broccoli and Michael G. Wilson, who have overseen the series for over six decades, have ceded their creative control to Amazon MGM Studios. This transition marks a significant change in the stewardship of the iconic spy series.

To spearhead the next chapter of James Bond, Amazon has appointed seasoned Hollywood producers Amy Pascal and David Heyman. Pascal is renowned for her work on Sony’s “Spider-Man” franchise, while Heyman has been instrumental in producing the “Harry Potter” and “Paddington” films. Their combined expertise is expected to bring a fresh perspective to the Bond series, with discussions already underway regarding the casting of a new actor for the titular role.

These developments reflect Amazon’s broader strategy to integrate MGM’s rich content library into its ecosystem, enhancing its competitive edge in the streaming market. By taking creative control of flagship franchises like James Bond and restructuring its studio leadership, Amazon aims to streamline operations and foster innovation in content creation.

However, these changes also raise questions about the future direction of beloved franchises and the balance between honoring legacy content and pursuing new creative visions. Fans and industry observers will be keenly watching how Amazon navigates these challenges in the evolving entertainment landscape.

In his book “Orientalism”, Palestinian literary scholar Edward Said explained Orientalism as the belief in Western superiority over the East. This belief is perpetuated by Western society as a foundation for creating theories, narratives, social descriptions, and political assessments about the East—its people, customs, mentality, and destiny. Western societies, through this philosophy, promote the idea that Arab communities are savage, uncivilized, and pose a threat to the West.

Said pointed out that Orientalism began during the European Enlightenment and the colonization of the Arab world. It provided justification for European colonialism based on the notion that the East was fundamentally different and inferior, thus requiring Western intervention or “rescue.” Given that art plays a significant role in spreading cultures, ideas, and ideologies, the West has long used films and songs to reinforce stereotypes and propagate Orientalist culture.

Western films and advertisements have portrayed a racist view of the East, presenting it as “the other” that cannot be equal to the West. These media types often depict Arabs as terrorists or tyrants, portray Arab women as either terrorists or sexual objects, and present veiled and niqab-wearing women as oppressed and submissive.

Orientalism in the Silver Screen

Disney’s Aladdin (1992)

The song “Arabian Nights” from the Aladdin soundtrack describes the protagonist’s homeland as a place where “they’ll cut off your ear if they don’t like your face,” depicting it as barbaric but still “home.” After backlash regarding the lyrics, the song was altered in the 2019 remake, removing the offensive line.

Iron Man Series – 2013

In the first Iron Man film, actor Faran Tahir challenged the Islamophobic narrative by changing the portrayal of the kidnappers of Tony Stark from a group of Muslim terrorists to a band of international mercenaries. However, in Iron Man 3, the storyline shifted focus to a terrorist threat named “The Mandarin” based in Pakistan. The scene depicted a group of veiled women working in a sewing factory, and Iron Patriot remarks, “Yes, you’re free, if you weren’t before… No need to thank me.” Yet one of these veiled women turns out to be a terrorist hiding her identity under the veil, reinforcing negative stereotypes about Muslim women as both oppressed and dangerous.

American Assassin (2017)

Described by author Opheli Lawler as “ a film that pairs American exceptionalism with American imperialism masked as spreading democracy”, American Assassin is about a young CIA agent seeking revenge after his loved ones are killed by terrorists. It portrays Arabs as the primary source of terrorism and weapons of mass destruction, thus promoting “Islamophobia” (fear or prejudice against Islam and Muslims, especially as a political force).

Positive Representations in Hollywood

While most films with Arab elements promote Orientalist views, a few exceptions present more realistic portrayals of the Arab world. Kingdom of Heaven provided an accurate historical context of Jerusalem, and Victoria and Abdul conveyed a humanitarian message without bias.

Commercializing Stereotypes

IKEA’s 2012 Saudi Arabian Catalog:

In 2012, IKEA faced criticism for removing images of women from its Saudi Arabian catalog. The same scenes in international versions included women, highlighting a significant alteration for the Saudi market. The images below shows a side-by-side comparison of the international catalog (left) featuring a woman, and the Saudi Arabian version (right) where the woman has been removed.

Coca-Cola’s 2013 Super Bowl Advertisement

Coca-Cola’s 2013 Super Bowl ad employs orientalist imagery by featuring an Arab man dressed in traditional attire leading a camel through the desert. This portrayal relies on outdated and stereotypical visuals of the Middle East as a barren, timeless landscape inhabited by mysterious and primitive figures. The ad’s depiction reduces Middle Eastern identity to a simplistic and exoticized trope, ignoring the modernity and diversity of the region.

Final Remarks

In examining these films and advertisements through the lens of Orientalism, it becomes evident how media continues to shape—and often distort—our perceptions of the Arab world. While some works are now beginning to reject outdated tropes and offer more nuanced perspectives, the entrenched stereotypes remain pervasive. Challenging these portrayals and advocating for authenticity is crucial for dismantling Orientalist narratives and embracing a more inclusive global culture.