In a significant cultural restitution, the United States has returned 25 ancient Egyptian artifacts to Egypt on Monday, May 12, 2025, concluding a three-year diplomatic effort. The items, spanning various periods of Egyptian history, were recovered in New York City following a coordinated operation between Egyptian authorities, the New York District Attorney’s Office, and U.S. security agencies.

The repatriated collection includes gilded coffin lids from the Pharaonic era, gold funerary masks, a portrait of a mummy from the Faiyum region, a gold coin from the reign of Ptolemy I, and jewelry pieces dating back over 2,400 years. Notably, some artifacts are believed to be fragments of Queen Hatshepsut’s ancient temple.

The return of these artifacts is part of Egypt’s broader efforts to combat the illegal trade in cultural properties. In 2021 alone, Egypt successfully repatriated over 5,300 stolen artifacts from around the world . The U.S. has been a key partner in this initiative, with agencies like U.S. Immigration and Customs Enforcement (ICE) and Homeland Security Investigations (HSI) playing pivotal roles. Since 2007, ICE has returned more than 80 items to Egypt, including a Greco-Roman style Egyptian sarcophagus.

The artifacts were formally handed over in a ceremony in Cairo, underscoring the importance of international cooperation in preserving cultural heritage. Egypt’s Ministry of Tourism and Antiquities expressed gratitude for the collaborative efforts that led to the successful recovery and repatriation of these priceless items.

This repatriation not only restores invaluable pieces of Egypt’s history but also sends a strong message about the global commitment to combatting the illicit trade in cultural artifacts. It highlights the ongoing need for vigilance and cooperation among nations to protect and preserve cultural heritage for future generations.

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.