Alcaraz Razzmatazz: Charismatic on court, humble off it, Carlos Alcaraz is the tennis world’s dream champion

Carlos Alcaraz’s electric US Open triumph over Jannik Sinner last month marked his sixth Grand Slam title and edged him ahead once again in the thrilling battle between the two standout tennis players of the new generation. The consummate champion lost just one set in the whole tournament (to Sinner) and dropped serve only three times.

Flushing Meadows, New York, holds fond memories for the youthful Alcaraz. It was here, in 2022 at the age of 19, that he claimed his first Grand Slam title, becoming the youngest number-one-ranked player in ATP (Association of Tennis Professionals) history. Born in El Palmar in Murcia, Spain, on 5 May 2003, he showed early promise in the sport, training under Juan Carlos Ferrero, himself a former world number one. The teenager’s aggressive playing style, combined with his exceptional speed and tactical intelligence, quickly set him apart from his peers.

Match Set

His development was shaped by countless hours of training at the Ferrero Tennis Academy in Alicante, where he refined his technique, mental toughness and strategic approach. Unlike many young players who struggle with consistency, Alcaraz displayed a level of maturity that propelled him into the professional ranks with confidence. His ability to adapt to different surfaces has made him a formidable opponent across all tournaments.

Alcaraz’s journey to becoming a world champion has been marked by record-breaking achievements and memorable matches. When he faced off with Sinner at Roland Garros in June, it was the longest final ever at the Paris tournament, lasting five hours and 29 minutes. This victory in their see-saw contest made him the third-youngest player – behind Bjorn Borg and his compatriot Rafael Nadal – to win five Grand Slam titles; the first player born in the 2000s to claim 20 tour-level titles; and the eighth man in the Open Era to successfully defend the French Open title.

Playing to his Strength

Far from the tallest of modern-day players at six foot (1.83m), Alcaraz excels with a blend of power, precision and athleticism. The right-hander’s ability to switch between aggressive baseline play and delicate net shots makes him unpredictable. He combines heavy topspin, drop shots and volleys seamlessly. His movement around the court is exceptional, allowing him to chase down seemingly unreachable balls.

His serve is considered his main weakness, but in the US Open final, it blew commentators – and Sinner – away. He made 61 percent of first serves, committed zero double faults and won a key game in the fourth set with two straight 132 mph (212.4 km/h) aces, among a total of 10 in the match.

He also exhibits a mental toughness – staying composed under pressure has led to multiple comeback victories, as evidenced against Sinner in Paris this year. Yet, Alcaraz has questioned his own fortitude in this regard. “I’ve taken steps backwards, like I’m not doing well mentally, I’m not strong,” he says. “I don’t know how to control myself when faced with problems and I don’t know how to handle them.” Speaking so openly about his mental health has endeared him to many beyond the confines of his sport.

Grand Slam Elan

The Alcaraz-Sinner rivalry has become one of the most exciting matchups in modern tennis. Before Flushing Meadows, the 24-year-old Italian had been ranked above the 22-year-old Spaniard as world number one for 65 consecutive weeks. Their epic clashes at the French Open, Wimbledon (which Sinner won) and the US Open this year are testaments to their competitive spirit, with both players pushing each other to the limit.

Alcaraz’s back-to-back Wimbledon wins in 2023 and 2024, both against Novak Djokovic, also epitomise his Grand Slam grit, whether on grass, clay or hardcourt. Tennis legends like Andre Agassi have praised his skills, comparing him to Roger Federer, Nadal and Djokovic, the ‘Big Three’ of the past 20 years.

Alcaraz has already achieved historic milestones, but his career is still in its infancy. He is expected to win many more Grand Slam titles and challenge the records set by the Big Three. He will certainly want to win the Australian Open next year to notch up a Career Grand Slam. “It’s my first goal, to be honest … to complete a Career Grand Slam, Calendar Grand Slam. So it’s going to be great [there],” he enthuses.

Off-Court Appeal

Beyond tennis, Alcaraz has embraced his role as a global sports ambassador. He has used his platform to promote youth development programmes, supporting young athletes through sponsorships and mentorship. Additionally, he remains deeply connected to his Spanish roots, often visiting local tennis academies to inspire the next generation.

Last year, he launched the Carlos Alcaraz Garfia Foundation, which is dedicated to improving the lives of disadvantaged children. Following the devastating floods in Valencia last October, the charity provided buses to transport volunteers to the affected areas and held a fundraising auction.

His humility and grounded personality have made him one of the most admired figures in sports today. Despite his well-publicised “partying” break in Ibiza after winning the French Open, he is a self-confessed homeboy. When he isn’t training or touring, Carlitos (little Carlos) – as his family calls him – still lives with his parents in Murcia. “When I finish a tournament, it doesn’t matter if I win or not; I just want to get home to be with my family,” he says. “To them, I am not a big tennis star, just a normal guy.”

His elder brother Álvaros is part of his entourage, serving as his hitting partner, and his father, who worked as a local tennis coach, often accompanies them, too. He supports Real Madrid, and as a break from tennis, enjoys playing golf and chess.

Doubles Entendre

When Alcaraz committed to a mixed doubles pairing with Britain’s Emma Raducanu at the US Open, it ignited gossip about his love life. Raducanu, who famously won the US singles title in 2021 at age 18, laughed off the notion of any romantic doubles, saying they were just friends.

Previously, he has been linked with Maria Gonzalez Gimenez, a tennis player in Murcia, and some say, Spanish singer and actor Ana Mena. Before his recent string of on-court conquests, he said: “I’m single, but I’m looking for someone. It can be difficult for a tennis player to meet the right person, because they are always on the move. Who knows what will happen this year?”

Hit Rate

Many experts believe Alcaraz is the next great champion following the era of Federer, Nadal and Djokovic. His ability to dominate on all surfaces and his aggressive playing style have drawn comparisons to these legends. Nadal has spoken highly of his compatriot, stating that he possesses the mindset and skill set needed to carry Spanish tennis forward. Djokovic, meanwhile, notes that he has the ability to adjust his game in real-time, much like the most successful players in history.

Alcaraz’s journey from a promising young talent to a world champion has been nothing short of extraordinary. His determination, skill and passion for tennis make him one of the most exciting players to watch. As he continues to break records and inspire future generations, his legacy in the sport is only growing stronger.

Armas Moment: From Havana’s quiet shores to Hollywood’s bright lights, Ana de Armas mesmerises all

When Ana de Armas landed in Los Angeles a decade ago, she spoke little English, could barely communicate with her co-stars, and had to recite her lines by rote. Today, she’s the talk of the town and the first Cuban to earn an Academy Award for Best Actress nod. It has been an instinctive rise, and the avenging assassin of Ballerina has the world at her feet.

Ana Celia de Armas Caso was born on 30 April 1988, in Havana, Cuba, and raised in the small coastal town of Santa Cruz del Norte. Her early years were shaped by the economic hardships of Cuba’s Special Period, yet her imagination flourished. She watched Hollywood films at a neighbour’s house and memorised monologues in front of a mirror, dreaming of a life far beyond the island.

By age 14, she had successfully auditioned to train at the National Theatre of Havana. Her determination was fierce – she sometimes hitchhiked to classes and filmed three movies while still a student. However, she left the programme early, knowing that Cuban graduates were required to complete three years of community service before being allowed to leave the country. At 18, she made a move to Madrid to chase her dream.

“I was fortunate to also have Spanish nationality [through her maternal grandparents], and with that freedom, I could come to Spain. I don’t know what I’d have done if I hadn’t had this advantage,” she acknowledges.

Her luck continued – within weeks of arriving, she met casting director Luis San Narciso and scored a place in hit boarding-school drama series El Internado (2007–2010). Though the show brought her fame in Spain, she felt creatively boxed in and left before its final season, seeking more diverse roles.

De Armas had appeared in several Spanish films, but by 2014 was ready for a bigger leap. She moved to LA and began intensive English-language lessons. Her first English-speaking role came in Knock Knock (2015), a psychological thriller opposite Keanu Reeves.

Despite the language barrier, she and Reeves shared a connection. She recalls: “I still managed to … bond with him and show him who I am to him and the kind of artist that I am. And that’s how we created that friendship and how all the other jobs came after.

“I just learned so much from [Keanu] just by watching him. He’s just nonstop. He’s like me: we are perfectionists. We want to do it again and again and again, and it’s never enough. So it is tough to say ‘cut’ when we’re filming.”

The parts that followed were in War Dogs (2016), Hands of Stone (2016), and Overdrive (2017). But her breakout role was Joi, a holographic AI companion in Blade Runner 2049 (2017), which showcased her emotional depth and screen presence, even in a futuristic, digitally enhanced form.

Then came Knives Out (2019), Rian Johnson’s modern whodunit. Her performance as a kind-hearted nurse entangled in a wealthy family’s murder mystery was widely praised, earning her a Golden Globe nomination and catapulting her into the A-list. She held her own alongside acting heavyweights like Daniel Craig and Jamie Lee Curtis.

Her career continued to soar in the early 2020s. She reunited with Craig in No Time to Die (2021), playing a charismatic CIA agent and stealing the scene with her blend of elegance, humour and lethal skill. In Deep Water (2022), she starred opposite Ben Affleck in a tense erotic thriller that blurred the lines between fiction and real life, as the two actors were romantically linked off-screen.

But it was her portrayal of Marilyn Monroe in Blonde (2022), Andrew Dominik’s adaptation of Joyce Carol Oates’ fictionalised novel, that became her most daring and controversial role. “[My] job wasn’t to imitate [Monroe],” she notes. “I was interested in her feelings, her journey, her insecurities, and her voice, in the sense that she didn’t really have one.” The film polarised critics, but her Oscar-nominated performance was acknowledged as fearless and transformative.

Commenting at the time, she says: “[The nomination] was a reminder of ‘look at the career I’m having, look at all the things I can do. This is exactly what I wanted.’ It’s usually that you are either only an action star … or you are doing indie low-budget films that not many people get to see. … So to be able to manage both sides of it and have it all in my own way, it’s amazing.”

Her personal life has often drawn media attention. She was married to Spanish actor Marc Clotet from 2011 to 2013. Following her highly publicised relationship with Affleck, she dated Tinder executive Paul Boukadakis. Rumours swirled this summer about a budding romance with Tom Cruise. Despite the speculation, she remains fiercely private, preferring to let her work speak louder than her personal life.

De Armas has spoken candidly about the challenges of being a Latina in Hollywood. She’s turned down roles that felt stereotypical and has advocated for more nuanced, authentic representation. Her fluency in both Spanish and English, combined with her global appeal, has made her a bridge between cultures and industries.

In 2023, she starred in Ghosted, an action-romantic comedy with Chris Evans, and in 2024, appeared in Eden, directed by Ron Howard. This year, she took centre stage in Ballerina, a spin-off from the John Wick universe. As a ballerina-turned-assassin, she brought grace and grit to a role that demanded both physical intensity and emotional complexity.

Beyond the screen, de Armas has become a fashion icon, gracing the covers of Vogue, Elle and Vanity Fair. She’s been the face of luxury brands like Estée Lauder and Louis Vuitton, embodying a blend of classic glamour and modern edge.

Despite her meteoric rise, she remains grounded. Having bought a home near Woodstock, Vermont, in 2022, she finds tranquillity away from the limelight. “It became a little bit too much,” she says of life in LA. “There’s no escape. There’s no way out. … It’s always the feeling of something that you don’t have, something missing. It’s a city that keeps you anxious.”

She frequently visits her family in Cuba and has spoken about the importance of staying connected to her roots. Her brother, Javier Caso, is a photographer and activist based in New York, and the two share a close bond.

De Armas’s journey is one of resilience, reinvention and relentless ambition. From a small town in Cuba to the heights of Hollywood, she has defied expectations and carved a path uniquely her own. With each role, she continues to surprise audiences, bringing a rare authenticity to every frame. Not just a pretty face or a rising star, she’s a symbol of what’s possible when talent meets tenacity. In a world that often demands conformity, Ana de Armas dares to be unforgettable.

Call of the Walls: Flowers have replaced Kowloon Walled City’s darkness, yet a sense of loss lingers

An ancient fortress turned 20th-century urban aberration, the now-demolished Kowloon Walled City has acquired almost dystopian cult status as Hong Kongers look back. The distaste once held for this tiny, unruly hotspot of crime and poverty – a city of darkness – has been replaced in some minds by pride for a shared and distinct past. Beautified into an oasis of calm within the bustling Kowloon City district, the ground upon which the walls once stood remains a tourist attraction, but one of a very different kind.

Kowloon Walled City began life as an Imperial Chinese military outpost and evolved into a unique geopolitical anomaly. Originally built in the Song dynasty (960–1279) to manage the salt trade, the walled compound nestled in the heart of Kowloon was seen as a defender of colonial encroachment after Hong Kong Island was ceded to the British in 1842.

After the 1898 Convention for the Extension of Hong Kong Territory, Britain leased the New Territories but excluded the walled city, leaving it in a legal limbo – claimed by both China and Britain, but governed by neither. This ambiguity laid the groundwork for what would become one of the most densely populated and lawless urban settlements in modern history.

Rise of the Darkness

By the mid-20th century, Kowloon Walled City had morphed into a vertical labyrinth of interconnected buildings. With no formal oversight, residents constructed haphazard extensions, often without regard for safety or sanitation. At its peak in the late 1980s, it housed an estimated 35,000-plus people in just 2.6 hectares, resulting in a population density of more than 1.2 million per square kilometre.

The locale became infamous for its lack of regulation. Triad gangs controlled much of the area, and illegal activities such as gambling, prostitution and drug trafficking flourished. A US newspaper reported in 1967 that the “area is neither walled nor is it a city… In reality it is a tiny enclave of sin and filth”.

Yet, despite its reputation, the walled city was also a place of resilience. Families lived side by side, children played on rooftops, and small businesses thrived in the shadows, producing everything from fish balls to plastic toys.

Life Inside the Maze

Navigating Kowloon Walled City was like entering another world. Narrow alleyways, often only shoulder-width, twisted through the complex. Electrical wires dangled overhead, sewage dripped from ceilings, and sunlight barely penetrated the dense architecture. Yet, within this chaos, a sense of community prevailed.

Its impoverished residents described the compound as a place of mutual support. Neighbours helped each other, shared meals, and created informal networks of care. Despite the lack of formal infrastructure, there were dentists, doctors, schools and even temples operating within the maze.

One postman who worked there for more than a decade recalled being shocked – literally – by exposed wires while delivering mail. He also remembered rats the size of cats, yet he spoke fondly of the friendships and camaraderie that defined daily life.

Walls Come Tumbling Down

The boundaries of the original walled city included cannons, a gate and watchtowers. This fortified barrier did not survive the Second World War. It was torn down by the Japanese forces occupying Hong Kong, who used the stone for a runway extension at nearby Kai Tak airport.

By the 1980s, the Hong Kong government, in agreement with China, decided that the walled city had to go. The decision was met with mixed emotions. For some, it was a chance to escape the squalor; for others, it meant the loss of a tight-knit community. Demolition began in March 1993 and was completed by April 1994. The process involved relocating thousands of residents and compensating property owners. It was one of the most complex urban clearance operations in Hong Kong’s history.

From Chaos to Calm

In December 1995, the site was reborn as Kowloon Walled City Park, a tranquil green space that pays homage to its chaotic predecessor. Designed in the style of a Jiangnan garden, the park features winding paths, lotus ponds and traditional Chinese pavilions. It’s a stark contrast to the dense, anarchic city that once stood there.

Several historical artifacts were preserved, including the original yamen building – the administrative office of the Qing officials – and remnants of the southern gate. These serve as quiet reminders of the site’s layered past.

Redevelopment and Renewal

Today, Kowloon City is undergoing a new wave of transformation. The Urban Renewal Authority (URA) has launched multiple redevelopment projects aimed at revitalising ageing neighbourhoods while preserving cultural heritage.

One of the most ambitious involves the redevelopment of low- to mid-rise buildings dating back more than 55 years along Ma Tau Wai Road and Lok Shan Road. The initiative began in August last year and will integrate modern urban planning with community needs, promising improved connectivity, pedestrian-friendly spaces and enhanced infrastructure. The project will yield more than 230 new flats and commercial spaces, with completion expected by 2033.

The redevelopment also includes plans for an underground shopping street, improved access to To Kwa Wan MTR station, and shared vehicular routes to minimise traffic disruption. The URA emphasises a “planning-led, district-based” approach, aiming to create a more liveable and sustainable urban environment.

Memory vs Modernity

The transformation of Kowloon Walled City into a park and the surrounding redevelopment projects reflect Hong Kong’s broader struggle between preserving memory and embracing modernity. While the lawless enclave is gone, its legacy lives on in photographs, documentaries, and the stories of former residents.

Whether realistically or romantically, the walled city spirit has also been captured in a succession of popular Hong Kong movies, including last year’s Best Film, Twilight of the Warriors: Walled In. This award-winning adaptation of the manhua (Chinese-language comic) City of Darkness focuses on crime lords operating within the city walls in the 1980s. The gangster movie Long Arm of the Law (1984) was shot inside the walled city during this period, and Jackie Chan’s Crime Story, filmed in 1993, includes scenes of actual building explosions during the enclave’s demolition.

Internationally, Jean-Claude Van Damme entered the walled city for a martial arts tournament in Bloodsport (1988), and its reputation for shady lawlessness entered the pages of spy fiction, courtesy of Jason Bourne (Robert Ludlum’s The Bourne Supremacy, penned in 1986). For a factual account of the walled city’s woes, Christian missionary Jackie Pullinger described encounters with resident drug addicts in her 1989 memoir, Crack in the Wall.

Tale of Two Cities

Architects and urban historians continue to study the walled city as a case of organic urbanism – where necessity, not regulation, shaped the built environment. It’s a reminder that cities are not just collections of buildings, but living organisms shaped by the people who inhabit them.

Kowloon Walled City was a paradox: chaotic yet communal, lawless yet lively. Its demolition marked the end of an era, but its essence endures in the park that replaced it and the memories of those who called it home.

As Kowloon City continues to evolve, the challenge lies in balancing development with remembrance. The new city may be cleaner, safer and more efficient, but the old city, in all its gritty glory, remains unforgettable.

Court of Appeal: Sinner and Świątek serve up a feast while redefining tennis at a very watchable Wimbledon

In a tale of two champions, the 2025 Wimbledon Championships concluded with unforgettable singles finals that showcased the very best of tennis. On the hallowed grass of Centre Court in southwest London, Jannik Sinner and Iga Świątek etched their names into history, each delivering performances that will be remembered for years to come.

World number-one Sinner faced off against two-time defending champion Carlos Alcaraz in the men’s final on 13 July. This clash of titans was a rematch of their epic French Open final the previous month, where Alcaraz had prevailed in five sets. This time, Sinner was determined to flip the script.

His Spanish opponent started strong, taking the first set 6–4 with aggressive baseline play and a blistering 140 mph (225 km/h) serve. But the Italian adjusted his tactics in the second set, opting for more forehand winners and varying his serve placement. The shift paid off as he broke Alcaraz early and held serve to level the match.

Sinner Set Piece

From there, Sinner took control. He broke Alcaraz at key moments in the third and fourth sets, using deep returns and precise net play to keep him off balance. Alcaraz had a double break opportunity in the final set, but Sinner held firm, delivering powerful forehands to fend off the threat.

Sinner’s strategy was clear: shorten rallies, attack second serves, and avoid letting Alcaraz dictate play. His serve variety and court positioning were impeccable, while his mental resilience was also on full display, especially after losing the first set.

This victory over his great rival will have tasted particularly sweet, giving him a fourth Grand Slam title and the second of the year. Sinner, who turns 24 this month, is the first Italian man to win Wimbledon. He also joins an elite group as the youngest player to reach four consecutive Grand Slam finals – the US, Australian and French Opens, and Wimbledon – since 1968, when professional players were allowed to compete in the top tournaments.

Sinner’s triumph was not just a personal milestone, it was a statement that the balance of power in men’s tennis is shifting. It snapped Alcaraz’s 20-match Wimbledon winning streak and 24-match unbeaten run across all events, marking the 22-year-old’s first loss in a Grand Slam final.

Aces in the Pole

The day before, Iga Świątek delivered a masterclass in dominance, defeating Amanda Anisimova in the women’s singles final in a rare and emphatic score of 6–0, 6–0. Hailed as the ‘Queen of Clay’ and already a five-time Grand Slam champion, Świątek was chasing her first Wimbledon title, and her first Tour-level triumph on grass.

Anisimova, ranked only fifth among the US women players, had stunned world number one Aryna Sabalenka in the semi-finals and was playing in her first major final. But nerves and inexperience showed as the Polish player took control from the first point.

Świątek’s performance was near-flawless. She hit deep, angled shots that kept Anisimova scrambling, and her serve was both powerful and precise. The American struggled to find rhythm, committing numerous unforced errors and failing to hold serve even once. In stark comparison, Świątek limited her own errors and played with surgical precision. Her court coverage and anticipation were unmatched, and she never allowed her opponent to settle.

The Pole was ranked only eighth in the world going into the tournament, though she had previously held top spot, having being undefeated in 37 consecutive matches from early 2022. Her Wimbledon win was not just dominant, it was symbolic. It marked her return to form, and her evolution from clay and hardcourt specialist to a true all-surface champion. Świątek’s ability to adapt her game to grass courts speaks volumes about her versatility and ambition.

Prize & Prestige

Her double-bagel women’s singles championship win was only the second in Wimbledon’s 138-year history. It sees her joiningSteffi Graf as one of the few players in the modern era to triumph 6-0, 6-0 in a major final. In contrast to the men’s battle, which lasted three hours and four minutes, the women’s singles was decided in just 57 minutes.

Both champions earned £3 million (HK$31.7 million) for their victories, continuing the Grand Slam tradition of equal prize money for men and women; Wimbledon, in fact, was the last of the quartet, in 2007, to convert to a gender-equality reward.

Runner-ups Alcaraz and Anisimova took home £1.52 million each of a total purse that reached a record £53.5 million, reflecting the tournament’s status as the most lucrative tennis Grand Slam.

Break Point

Wimbledon 2025 felt like a turning point in tennis. With Novak Djokovic and Sabalenka both falling in the semi-finals, the finals represented a new generation of champions. Sinner is now the face of men’s tennis, with a game that blends power, finesse and mental toughness, while Świątek, also 24, has cemented her status as the most dominant woman of her era, with titles on clay, hardcourt and now grass.

Their victories signal a shift away from the old guard toward a future defined by adaptability, athleticism and global appeal. Social media exploded with praise for both champions. Sinner’s win was hailed as “revenge served cold” after his French Open loss, while Świątek’s double bagel drew comparisons to Serena Williams and Graf.

This year’s winners also have a less positive note in common – they both received short suspensions for doping violations within the past 12 months. Traces of banned substances were found during routine tests, but tennis authorities judged that these were the result of contaminated medications, not an intent by the players to enhance their performances. Sinner remarked after his match that he and Świątek would perhaps savour their victories even more after the difficult times they had endured.

Finals Flourish

Tennis fans celebrated the sportsmanship, intensity and elegance of both finals. The All England Lawn Tennis and Croquet Club’s decision to switch up the order of play this year paid dividends. The two singles championship matches were moved to 4 pm local time to suit TV audiences, particularly in the US, where they aired at 11 am EST. The scheduling change also gave greater visibility to the doubles finals, which were played earlier in the day, ensuring packed stands and higher viewership.

Despite a couple of notable glitches, the installation of modern electronic line calling to replace the traditional line umpires also received positive feedback. Some customs giving Wimbledon its refined and quintessential British edge over other major tournaments happily remain, though. The all-white tennis wear, the generally genteel spectators, and the popping of Champagne corks – even mid-match in the men’s final – bestow an unbeatable charm.

Wimbledon 2025 delivered two finals that couldn’t have been more different – one a tactical four-set battle, the other a swift and stunning shutout. Yet both were united by excellence, determination, and the emergence of champions who are redefining tennis. As the grass courts of SW19 return to silence, the echoes of their victories will linger. And with play to be called shortly at the Arthur Ashe Stadium in New York’s Flushing Meadows, the tennis world waits to see what these champions will do next.

Fast & Glorious: With F1, Brad Pitt keeps fans’ hearts racing while reigniting his thrill for the ride

Brad Pitt has long been Hollywood’s golden boy – equal parts heartthrob, chameleon and cinematic daredevil. But in 2025, he’s not just basking in legacy; he’s redefining it. With F1: The Movie, which sped into cinemas earlier this summer, Pitt trades red carpets for racetracks as a washed-up Formula One driver clawing his way back into the sport. It’s a role that demands grit, vulnerability and velocity – and the actor delivers all three with the kind of swagger only he can summon.

Directed by Joseph Kosinski (Top Gun: Maverick), F1 is a high-octane sports drama that’s part redemption arc, part adrenaline rush. Pitt’s character, Sonny Hayes, is a former racing prodigy whose career was derailed by a catastrophic crash in the 1990s. Decades later, he’s lured back into the cockpit to help save a struggling team from collapse. The film is packed with real-life Grand Prix footage, cameos from actual Formula One drivers, and a soundtrack that pulses with Hans Zimmer’s signature intensity.

But it’s Pitt’s performance that anchors the spectacle. He’s not just playing a racer, he’s embodying a man haunted by past glory, driven by unfinished business, and learning to trust again. Whether he’s trading barbs with his rookie teammate (played by Snowfall’s Damson Idris) or locking eyes with Kerry Condon’s steely technical director, Pitt brings a weathered charisma that’s impossible to ignore.

Drive for Realism

What makes F1 more than just another sports flick is its authenticity. Filmed during actual Grand Prix weekends across 2023 and 2024, the movie features real tracks, real teams and real tension. Pitt didn’t just act, he trained. With guidance from Mercedes AMG and Lewis Hamilton (who also co-produced the film), the actor drove modified Formula Two cars designed to mimic Formula One machines.

The production team went all in, converting six Formula Two cars into camera-ready racers with 15 built-in mounts. The result? Racing sequences that feel visceral, cinematic, and surprisingly grounded. Kosinski’s direction leans into realism, capturing the chaos of pit stops, the precision of overtakes, and the emotional stakes of every lap.

“It’s undeniable [that we are driving the cars]; we’re not sitting on a sound stage with wind machines,” says F1’s star, hailing the filming as “one of the most extraordinary experiences I’ve had”. He enthuses: “I’ve been trying to get a racing movie done for 20 years. I’ve tried bikes, I’ve tried cars, I’ve tried different disciplines, and for whatever reason, they never came to fruition. [We wanted] to make the most realistic racing movie we’ve seen to date, and I think that’s what we’ve done.”

Pitt Never Stops

For the actor, F1 isn’t just another notch on his filmography; it’s a statement. At 61, Pitt’s proving that reinvention isn’t reserved for newcomers. His career has spanned decades and multiple award nominations, from the film that got him noticed, Thelma & Louise (1991), to Fight Club (1999), Inglourious Basterds (2009) and Once Upon a Time in Hollywood (2019), which secure d his best-supporting-actor Oscar win. He’s played assassins, astronauts and ageing stuntmen, but F1 taps into something deeper: the idea that greatness isn’t static; it evolves.

Sonny Hayes is a man out of time, trying to adapt to a sport that’s left him behind. Pitt, too, is navigating a Hollywood landscape that’s increasingly obsessed with youth and novelty. Yet he remains relevant – not by chasing trends, but by choosing roles that challenge him. F1 is a metaphor for that journey: a comeback story that mirrors Pitt’s own refusal to coast.

He says: “Man, I’ve been doing this for a while and was wondering: Do I have more stories to tell? Do I have anything to add to this? Is there still any excitement I can find from this? [This film] just reinvigorated the whole thing again for me.”

He plays Sonny with a quiet ache, a man who’s lost more than he lets on and who’s terrified of losing again. This emotional depth is what elevates F1 beyond the genre. It’s not just about speed, it’s about healing. Pitt’s ability to toggle between bravado and brokenness is what makes Sonny believable. He’s not invincible; he’s human. And that humanity is what keeps audiences invested.

Life Beyond the Limelight

Brad Pitt’s star power is undeniable, but it’s his versatility that keeps him interesting. He’s not afraid to get messy, to play flawed characters, to let the audience see the cracks. In F1, he’s not the fastest or the flashiest, but he’s the most determined – and that determination resonates.

Off-screen, Pitt has embraced a quieter life of late, especially after his high-profile separation from Angelina Jolie in 2016. He’s focused on producing through his company, Plan B Entertainment, which he and his first wife, Jennifer Aniston, co-founded back in 2001. 12 Years a Slave (2013), which earned him a producer’s Academy Award for Best Picture; The Big Short (2015); and Moonlight (2016) number among the critically acclaimed films he has backed.

He’s also delved into architecture – in an interview in 2008, he called acting his career and architecture his passion – exhibited his sculptures, and poured his heart into winemaking – the celebrated rosé of Château Miraval. Romantically, he appears at peace with jewellery executive Ines de Ramon. But when he returns to acting, it’s with purpose.

F1 is already being hailed as one of the year’s biggest blockbusters, grossing more than US$395 million worldwide. Critics have praised its visuals, its pacing, and Pitt’s performance. Some Formula One purists have nitpicked the racing accuracy, but most agree that it’s a thrilling ride. And for Pitt, it’s another feather in a cap that’s already overflowing.

Lap of Fame

His portrayal of Sonny Hayes may not win him another Oscar, but it cements his status as an actor who still has something to say. He’s not cruising by on charm; he’s pushing boundaries. A 30-year superstar of the silver screen, Pitt could have played it safe and leaned into nostalgia. Instead, he chose to race forward, literally and figuratively. And in a landscape where many stars fade, he continues to shine.

“You get to my age and see how important it is to surround yourself with the people you know, the people you love, the people that love you back,” he says. “Friends, family and that’s it. From there, we get to go make things. It’s a pretty simple … equation.”

As Sonny Hayes crosses the finish line – spoiler alert – victorious and vindicated, it’s hard not to see Pitt in the same light. He’s a man who’s weathered storms, embraced change and come out stronger. And in F1, he’s not just acting – he’s accelerating.

Bun Rites: Faith, folklore and a frenzied scramble to the top characterise Cheung Chau’s Da Jiu Festival

Rooted in community and arising from crisis, the Cheung Chau Bun Festival is one of Hong Kong’s most unique and vibrant cultural celebrations. Held annually on the island of Cheung Chau, this Taoist fiesta is steeped in centuries-old traditions, spiritual symbolism and a fascinating origin story that blends folklore with historical adversity.

The bun festival traces back to the late Qing dynasty when Cheung Chau was a modest fishing village often beset with piracy and disease. According to local legend, a devastating plague swept through the island in 1777. Desperate for relief, the Hailufeng people, who had settled here from Guangdong, invoked the protection of Pak Tai, the Taoist deity associated with the sea and natural disasters. They brought a statue of the god to the island and paraded it through the streets in a ritual meant to exorcise evil spirits and restore peace.

Miraculously, the plague subsided. In gratitude, the villagers began holding annual ceremonies to honour Pak Tai, which evolved into the elaborate festival we see today. Over time, the spectacle also absorbed elements from other Chinese folk traditions, including rituals to appease wandering spirits and protect the island from future misfortunes.

Sacrifice for Peace

Cheung Chau’s famous bun scramble up a bamboo tower is part of a broader Taoist celebration known as the Da Jiu Festival, or Tai Ping Ching Chiu in Cantonese, which translates to the ‘Purest Sacrifice for Great Peace’. These festivals are held in various rural communities across southern China and Hong Kong, often to mark the end of a calamity or to seek divine blessings for peace and prosperity.

In Cheung Chau, the Da Jiu Festival spans several days in the fourth month of the Lunar Calendar – typically early May – and includes a series of religious rites, processions and performances. Central to the celebration is the construction of a temporary bamboo shrine near the island’s Pak Tai Temple. Offerings are made and rituals performed to honour the gods and drive away malevolent forces.

Pure of Body

One of the most distinctive features of the Cheung Chau Bun Festival is the observance of vegetarianism. For three days during the festival, the entire island abstains from meat. Locals snack on put chai ko, a steamed pudding cake sold by street vendors, and eschew the seafood splurges for which the island is known. Vegetarian options like lo bak go, or turnip cake, replace the usual street-food delights of fish balls and har gow (shrimp dumplings). Even fast-food chains like McDonald’s adapt by serving mushroom rather than meat burgers.

This practice is rooted in Taoist beliefs about purification and spiritual harmony. By adopting a vegetarian diet, participants symbolically cleanse themselves and the community, creating a more auspicious environment for the gods to bless.

Another food favourite are the steamed buns that give the festival its catchy name. Every year, tens of thousands of sweet buns filled with lotus seed, red bean paste or sesame are made. Seen as offerings that will placate angry spirits, they are stamped with the Chinese characters for ‘ping an’, meaning peace.

Children of the Gods

Among the most iconic spectacles of the festival is the Piu Sik, or Floating Colours Parade, when children dressed as mythological figures, historical heroes and modern icons are hoisted onto hidden platforms, giving the illusion that they are floating through the air. These ‘living deities’ are paraded through the streets in a vibrant procession accompanied by lion dances, drumming troupes and costumed performers.

The parade is both a spiritual ritual and a community celebration. It reenacts the original procession of Pak Tai that saved the island, while also showcasing the creativity and cultural pride of Cheung Chau’s residents.

Scramble for Success

The festival’s most thrilling event is the bun-snatching competition, held at midnight on the final day. Traditionally, three towering bamboo structures, each about 60-feet-tall, were erected and covered with thousands of white steamed buns. Competitors raced to climb the towers and grab as many buns as possible, with those at the top considered the most auspicious.

Historically, the buns were believed to bring good luck and protection. The higher the bun, the greater the fortune. However, the competition was suspended for decades after the customary frenzied scramble to the top caused the structure to collapse in 1978, injuring some 100 people.

By popular demand, the tradition was revived in 2005 with enhanced safety measures, and it remains a highlight of the festival. For the past 20 years, a limited number of experienced climbers have scaled a single steel-reinforced bamboo tower to snatch what are now plastic buns rather than the fragrant treats of yesteryear.

Warrior Worship

Pak Tai, the Supreme Emperor of the Dark Heaven, is the central figure of the festival and the patron deity of Cheung Chau. The Pak Tai temple, built in 1783, is one of the oldest and most important religious sites on the island. During the festival, it becomes the spiritual heart of the celebration, drawing worshippers from across Hong Kong and beyond.

Revered for his power to vanquish evil and restore order, Pak Tai is often depicted as a warrior god standing on a tortoise and serpent – symbols of evil he has conquered. His presence in the festival underscores the themes of protection, purification and renewal that define the event.

Weaving Past and Present

The Cheung Chau Bun Festival is more than just a religious observance; it is a living testament to Hong Kong’s intangible cultural heritage. In 2011, it was officially inscribed on the city’s Intangible Cultural Heritage list in recognition of its historical, artistic and communal value.

The festival also serves as a powerful symbol of local identity. Despite the rapid modernisation of Hong Kong, Cheung Chau has preserved its traditions with remarkable fidelity. The festival draws tens of thousands of visitors each year, including tourists, scholars and cultural enthusiasts eager to witness its unique blend of spirituality and spectacle.

In recent years, the Cheung Chau Bun Festival has gained international attention, featuring in travel documentaries, cultural exhibitions and academic studies. Its colourful visuals and dramatic rituals make it a favourite subject for photographers and filmmakers.

Scaling Modern Change

However, the festival also faces challenges. The increasing commercialisation of the event has raised concerns about its authenticity. Some locals worry that the spiritual essence of the festival is being overshadowed by tourism and media hype. Additionally, environmental concerns have prompted calls for more sustainable practices, such as reducing waste from bun packaging and parade materials.

Despite these challenges, the annual Cheung Chau Bun Festival remains a vibrant and evolving tradition. It continues to serve its original purpose, bringing the community together in a shared act of remembrance, gratitude and hope.

From its humble beginnings as a plague-averting ritual to its current status as a cultural landmark, the festival embodies the resilience and creativity of the Cheung Chau people. It is a celebration of life, a tribute to the divine, and a reminder that even in the face of adversity, communities can find strength in tradition.

Peace Movement: Crossing continents on a cultural exchange programme is a major step towards a more inclusive world

In an increasingly interconnected world, cultural exchange programmes have emerged as vital mechanisms for fostering understanding, tolerance and friendship among people from diverse backgrounds. These schemes encompass allow individuals to share their cultural heritage, traditions and values while learning about those of others. Whether facilitated by educational institutions, government agencies or non-profit organisations, cultural exchange offers profound opportunities for personal growth as well as broader societal benefits, impacting participants and communities alike.

At the heart of such exchange programmes is the goal of promoting cultural understanding. By providing individuals with the opportunity to immerse themselves in another culture, they foster curiosity, empathy and appreciation for diversity. Participants can experience firsthand a wealth of traditions, languages, food and customs that may differ vastly from their own. This direct immersion in another country and its culture helps to dispel stereotypes and prejudices, cultivating a sense of respect for varying perspectives and ways of life.

Citizens of the World

In today’s globalised society, the concept of citizenship extends beyond national borders. Cultural exchange programmes encourage participants to think critically about their roles as global citizens. They provide a platform for individuals to engage with global issues such as poverty, inequality, environmental challenges and human rights. By interacting with people from different backgrounds, participants gain a more nuanced understanding of global challenges and are often inspired to take action, promoting social justice and progress.

Language is a crucial aspect of culture, and cultural exchange activities often provide participants with the opportunity to improve their language skills. Whether learning a new language or refining existing proficiency, individuals can practise conversational skills in real-world scenarios, enhancing their linguistic competence. This language immersion is particularly effective as it allows learners to engage in genuine communication with native speakers, fostering deeper connections and understanding.

Cultural exchange programmes often result in lasting friendships and relationships that transcend geographical boundaries. When participants share experiences, challenges and laughter, they build connections that can lead to lifelong friendships. These relationships not only enrich the lives of individuals but also cultivate networks of cross-cultural communication, understanding and collaboration. Such relationships can play a vital role in mitigating conflicts and fostering peace in a global society.

Learn and Grow

Cultural exchange programmes come in various formats, each tailored to meet specific objectives and audiences. Student exchange is perhaps the most common type, allowing youngsters to study abroad, typically for a semester or academic year. During this time, students attend courses at local schools or universities, live with host families, and engage in cultural activities.

These programmes provide a unique opportunity for students to experience a new education system, develop language skills, and form relationships with peers from different cultures. Leading examples of such initiatives in the US are the Kennedy-Lugar Youth Exchange and Study programme, which welcomes teens from countries as diverse as Albania, Ghana, Kuwait and Indonesia to American high schools, and the Rotary Youth Exchange, enabling 15- to 19-year-olds to spend an academic year in one of more than 100 countries.

Many organisations offer work and volunteer exchange programmes that enable individuals to contribute their skills in a foreign context while experiencing a new culture. Participants may be employed in the likes of education, healthcare, environmental conservation or community development. WWOOF (World Wide Opportunities on Organic Farms), for instance, delivers sustainable agriculture experience on the land in various parts of North and South America, Europe, Africa and Asia, while the Workaway platform arranges volunteering, working holidays and housesitting stints in some 170 countries. Such exchanges allow participants to gain practical experience while immersing themselves in local communities.

The US Consulate General offers an International Visitor Leadership Program for promising professionals in Hong Kong and Macau, enabling them to develop lasting relationships with their American and global counterparts while on short-term visits to the US.

Artistic Diversity

Cultural exchange extends beyond language and academics; it also encompasses the arts. Artists, musicians and performers can engage in programmes that promote cross-cultural dialogue through artistic expression. Professional artists with more than seven years’ experience, for example, can apply for a Fulbright US Scholar Program award and showcase their skills overseas.

Similarly, the Arts Envoy Program aims to share the best of the US arts community with the world, and American Music Abroad sends cultural ambassadors on two- or three-week multi-country tours. Elsewhere, various international arts festivals encourage artists to collaborate, share their craft, and foster intercultural understanding through creative endeavours.

Educators can spread their expertise through teacher exchange schemes designed to promote professional development, cultural understanding and educational collaboration. These programmes allow teachers to share best practices, learn about new curricula, and gain insights into different educational systems.

Building Communities

Community-based initiatives focus on grassroots efforts to promote cross-cultural understanding at the local level. These often bring together diverse communities to engage in dialogue, cooperative projects and cultural events. Organisations like the US Peace Corps and Volunteer Action for Peace in the UK, or charities such as Habitat for Humanity run programmes that encourage cultural exchange within communities, facilitating interactions that foster mutual respect and understanding.

Cultural exchange can be a transformative experience for participants, often resulting in significant personal growth. Many individuals return home with enhanced self-awareness, confidence and adaptability. Navigating new environments, customs and social norms encourages participants to step outside their comfort zones, cultivating skills that are valuable in both personal and professional contexts.

While the immediate impact of cultural exchange programmes is often felt on a personal level, the ripple effects extend to communities and societies. As participants bring their experiences and knowledge back home, they can contribute to building more inclusive and understanding communities. Cultural exchange engenders a sense of curiosity and openness towards diversity, fostering a society more able to embrace change and innovation.

Bridging Divides

Cultural exchange programmes can play a crucial role in conflict resolution and peacebuilding. When individuals from conflicting backgrounds come together through these initiatives, they often find common ground and shared interests. Dialogue facilitated through cultural exchange can help break down historical animosities and promote reconciliation.

The Seeds of Peace programme, for example, brings together youth from regions with a history of conflict. Serving as an example of how cultural exchange can bridge divides, its alumni – now numbering more than 8,000 young people residing the Middle East, South Asia, Europe and the US – are strategically positioned to lead change and the charge toward a more inclusive world.

Cultural Sensitivity

Despite their many benefits, cultural exchange programmes also face challenges that require careful consideration. Issues such as cultural insensitivity, tokenism and unequal power dynamics can arise if these initiatives are not thoughtfully designed and implemented. It is essential for organisations and institutions to ensure that cultural exchange activities are equitable, respectful and genuinely inclusive, prioritising the voices and needs of local communities.

Additionally, sustainability is a key concern. As cultural exchange programmes grow, ensuring they do not inadvertently contribute to cultural commodification or exploitation is vital. Initiatives should focus on fostering authentic connections rather than superficial encounters.

A More Inclusive Future

As the world becomes increasingly interconnected, the need for cultural exchange will only become more pressing. Innovations in technology and communication will continue to shape how these immersions are delivered. Online exchanges and virtual programmes have emerged, which can complement traditional in-person exchanges while broadening accessibility.

Moreover, as global challenges such as climate change, migration and social inequality demand collaborative solutions, cultural exchange can serve as essential platforms for dialogue, cooperation and innovation. By bringing diverse perspectives to the table, such schemes can contribute to developing holistic, sustainable solutions.

As we move forward, prioritising and expanding cultural exchange initiatives will be essential in addressing the challenges of our time and building a more inclusive global future. Ultimately, fostering understanding and collaboration through cultural exchange is not just a noble endeavour; it is a necessity for a harmonious coexistence in our increasingly interconnected world.

To The Bard’s Credit: William Shakespeare’s enduring legacy translates into a rich body of work

The willingness of a collector to snap up Shakespeare’s Four Folios ahead of an auction scheduled this May in London speaks volumes for the insatiable appetite that remains for the English playwright’s extraordinary output and legacy today, more than 400 years after his death. Given media speculation that this rare suite of the Bard’s published works would prompt bids of up to £4.5 million (HK$48 million), the price offered privately and accepted by the seller is likely to be astronomical.

It is highly unusual for all four Shakespeare Folios to appear on the market as a single lot. The last time this happened was in 1989, when Sotheby’s – which also handled the recent sale ¬– auctioned a set in New York for US$2 million (HK$15.7 million). Titled Mr William Shakespeares [sic] Comedies, Histories & Tragedies, the First Folio was published in 1623, seven years after his death at the behest of two of his friends. The book contained 36 plays and had an initial print-run of about 750 copies; three further editions were released between 1632 and 1685.

According to the Royal Shakespeare Company, the Bard of Avon penned a total of 38 plays, including collaborations with other writers. The first, The Taming of the Shrew, is believed to have been completed before 1592, the year Shakespeare turned 28, and the last, The Two Noble Kinsmen, was written in 1613-14.

The unending global fascination with Shakespeare’s works is reflected in the high estimate for the suite that exchanged hands in April, thus nullifying the intended auction. Andrea Smith, Lecturer in English and Creative Writing at the University of Suffolk in England, who has written extensively about the Bard, attributes this, in part, to his celebrity status. “Anything rare – and all four folios together is extremely rare – might fetch a high price, especially if they’re linked to a celebrity – and I think Shakespeare has become a celebrity over the centuries,” she explains.

“I’d love to say [this is] just because the plays are brilliant, but it’s more than that. There’s mystery about the man himself – we know very little about him. And there’s a long history of holding his works in high regard among both academics and theatre professionals. When someone’s been on a pedestal as long as he has, it’s quite hard to knock him off!”

Stories for All Times

Smith was first drawn to Shakespeare’s stories and characters, and subsequently his superbly crafted words. Although his language might initially be viewed as odd and old-fashioned in the contemporary era, this is “what keeps you there”, she says. “If it were just the plots and characters, I don’t think we’d have his words any more – he’d just be cannibalised by modern writers for his ideas. Instead, his plays are still being staged.”

She opines that many of his plays have not dated in the same way as those of his contemporaries since the majority were not set in England in his lifetime. They also have a compelling political dimension and embrace universal themes such as leadership, fairness in society, responsibility and gender politics.

In an added bonus, there is less of a language barrier for the global audience when they read Shakespeare. “If you’re reading him in a modern translation, he’s already in your contemporary language,” she notes.

Smith leans towards the romantic comedies when asked to name her favourites among the Bard’s vast body of work. “Perhaps Much Ado About Nothing – I’m particularly fond of Beatrice and Benedick, the ex-lovers who fall in love all over again with some hefty nudges from their friends,” she says. Some of the lesser-known plays also make her list, particularly the three parts of Henry VI. “They’re set during the Wars of the Roses and are rarely performed, but they’re a fascinating take on the impact of war on everyone involved.”

The Heart of Being Human

Macbeth, Shakespeare’s famous tragedy about ambition, power and loss, was directed by Alexandra Spencer-Jones during a sell-out run in Hong Kong last year. For Spencer-Jones, Artistic Director of London-based theatre company Action to the Word, the Bard succeeds in cutting to the core of what it is to be human. “He’s a psychologist, a romantic, a pessimist, an optimist and sometimes even a protofeminist,” she notes. “Somehow, he has me by the hand, and says to me through his work, ‘I’ve got you’. I think a lot of people feel like that about him.”

As a playwright, Shakespeare traverses geographical borders, language barriers and cultural conditions. “His talent for boring into the very heart of what it is to be human – to live, to die, to love and to suffer – touches us all deeply, regardless of where we were born, the money in our bank account or the cultural education we have received,” she says. “He’s the most honest playwright of all time.”

Tales of Tragedy

According to Spencer-Jones, Macbeth fits the model of a perfect tragedy, and is a masterpiece on the page and to direct. She describes the main protagonist as the ideal tragic hero – someone for whom we feel pity, fear and disgust. “The play has everything that makes good drama – mystery and prophecy, amazingly written central characters who enthral us, terrible jeopardy and exquisite language.”

If she were to choose one play as her personal standout, it would be King Lear – a heart-shattering exploration what it is to grow old and the dreadful ordeal of survival of the fittest. Her favourite to direct was the “vicious and ridiculous” Titus Andronicus – an early vengeance tale about defending one’s family to the literal death – while “it was such an honour to speak his words” when playing Juliet’s Nurse in Romeo & Juliet, which is such a “beautifully written and carefully crafted” play.

Spencer-Jones marvels at how Shakespeare’s plots have transcended his Elizabethan English writing. She points to ballets and symphonies based on his scripts, and the amazing immersive theatrical experience of Sleep No More by Punchdrunk, which is inspired by Macbeth. “If Shakespeare were alive today, he would be writing the most accessible and well-loved television shows,” she says.

The Power of Theatre

Nicholas Beckwith, Artistic Director of Hong Kong-based performing arts NGO Shakespeare4All, believes the Bard was exploring his own psyche when creating worlds outside his experience, such as a magical forest (A Midsummer Night’s Dream) or ancient Egypt (Antony & Cleopatra). “I think it’s about stepping into someone else’s shoes, and the power of theatre allows you to do that. And that’s why audiences continue to keep enjoying Shakespeare,” he says.

Among a huge cast of diverse characters, Beckwith considers the fools to be the most interesting – like Bottom in A Midsummer Night’s Dream or the Fool in King Lear. “Shakespeare had this beautiful way that the fool characters were often the ones that were the most honest or the most piercing with their language,” he says.

He also notes how one’s response to Shakespeare’s writing can change over time, with different elements provoking a different understanding of the plays – one of the reasons why people will revisit them throughout their life.

Beckwith’s group of professional actors takes Shakespeare to various districts of Hong Kong, hoping to inspire local youths to tread the boards themselves. He says: “A lot of people can see Shakespeare as elitist, but it is his stories, his themes, his characters that are accessible, and watching young people in Hong Kong be inspired by the stories and discover things about themselves that they didn’t know is really empowering.”

Guardians of Our Luxury：Enhanced security – human and AI – is a hot topic in Hong Kong amid recent high-profile burglaries

A spate of audacious break-ins and smash-and-grab raids at luxury premises is threatening to dim Hong Kong’s well-earned reputation as a beacon of low crime. Although the city is still hailed among the safest in the world, a five percent increase in the number of crimes recorded last year has put the spotlight on beefing up security for homes, stores and businesses.

A daring early-morning robbery at Ginza Xiaoma in Central sent shockwaves through Hong Kong last November. After smashing into the premises, thieves took just a few minutes to grab more than 60 Hermes handbags from the 17th-floor retail outlet, having seemingly waltzed past building security. In an earlier frightening raid at an Emperor Watch & Jewellery store in Tsim Sha Tsui, knife-wielding intruders confronted staff and swiped a HK$22 million jade necklace.

Just last month two tailor shops in Tsim Sha Tsui were burgled, with a reported HK$3 million in cash and gold snatched. The thief reportedly forced the door open in the first shop, then stole the key to enter the owner’s neighbouring store.

Deluxe residences have also been targeted in Sai Kung and elsewhere in the New Territories – possibly because they are seen as relatively easy pickings. Public figures are not immune from burglaries, either. The home of former Hong Kong police chief Andy Tsang was broken into while he and his family were away, and the mansion of tycoon Cecil Chao has been targeted twice, with millions in cash and valuables taken.

Extra Vigilance

While stressing that Hong Kong is still a relatively safe city, Parth Shah, CEO of jade atelier Fyoro, admits: “Recent events do make us think more about safety and being more vigilant. One does need to be more aware and have colleagues trained for any incidents.” He adds: “Stores on the retail level or the ground floor tend to be slightly more vulnerable.”

Fyoro is on a higher floor in a secured building. “We have a full security system, including safe vaults that are strong,” says Shah, noting that heavy doors, vaults and enforced walls are all essential in his business.

Since insider information is often used to breach security during robberies, he advocates diligence when hiring staff, providing proper training, and limiting access to valuables to only a few highly trusted individuals. Having advance knowledge of the security systems in place, as well as scouting the area and observing staff routines are typical modus operandi for thieves.

Higher Insurance

Insurance is a concern for those owning high-value businesses, and Shah indicates that premiums and deductibles have increased. “We have taken on higher insurance measures, and the compliance and paperwork required for this is much more stringent [than before],” he notes. “Also, it is essential that one ensures that the outsourced systems and inhouse security systems are combined to be compliant with insurance requirements.”

As a provider of precious jadeite jewellery and luxury gifts, Fyoro operates on an appointment-based model. “This means we have relative control over foot flow,” says Shah. Higher-value items receive increased security provision: “We have differentiated methods of storing and layering in security, depending on the value. We also have additional in-office security features. We have a checklist and system of how goods are stored every day.

“Anyone [viewing] goods in our office would have at least two cameras watching [them], in addition to further security layers. But we have to keep it discreet.”

Safe and Secure

Ramped-up security can still be aesthetically pleasing, according to Kevin Man of Manton Security. For instance, Man notes that today’s sophisticated security features can seamlessly match the architectural heritage of the building. Munitus, a purveyor of bespoke security doors and windows, tailors security levels according to clients’ needs – bullet-proofing is available. US company Brown Safe specialises in luxury home and jewellery safes that can not only ably withstand severe attack – some were designed for the military – but also come with exotic interiors.

“We also do strong rooms for clients – these are like panic rooms and can also act as a safe,” says Man. “They have nice finishing inside and can come with a hidden door, meaning people don’t realise [they are installed].”

Automated Protection

Given the increasingly sophisticated technology used by bad actors to bypass protections, Shah outsources this aspect of his company’s security to a specialised firm. “The main vulnerabilities in terms of software would be from their end,” he says.

Artificial intelligence can also be used to assess potential risks with clients, alert owners of red flags, and integrate with the police or the authorities. “But AI software would need to be matched with hardware that is also strong and evolving,” he advises.

ImageDeep founder Niall Dorr, who has been providing automated security solutions for 20 years, advocates AI-driven security systems that offer 24/7 vigilance without human vulnerabilities. For instance, equipping luxury homes with AI cameras and perimeter sensors, and watermarking art and jewellery collections. “If intruders attempt a quick getaway, our system issues audio warnings and notifies police within seconds, while watermarking ensures recovered items are returned,” he says.

An AI-driven anomaly detection system should also pick up on pre-raid reconnaissance via drones or loitering, and will counter signal mimicry with encrypted access controls.

For jewellery stores, Hong Kong-headquartered ImageDeep can install smoke screens to disorientate thieves and prevent theft; implement biometric access for storerooms; and provide inventory tracking to prevent smash-and-grab raids or internal theft. “Our systems have protected high-value retail, reduced risks and secured insurance benefits,” says Dorr.

Reducing Shrinkage

He suggests firms employ technological solutions to combat the problem of internal theft, also known as shrinkage. “Use biometric authentication – fingerprint or facial recognition – and encrypted key-card systems to restrict access to areas storing valuables, such as safes, storerooms or display cases,” he explains. “Our AI surveillance tracks access in real time, logging entries with video evidence to ensure accountability. In Hong Kong’s luxury market, where items have high-unit values, even small losses can result in substantial financial impact.”

He also warns that poor tracking can lead to losses, especially for businesses with large inventories of luxury goods, like car dealerships or jewellery retailers. Implementing IoT-enabled inventory tracking with RFID (radiofrequency identification) tags and cloud-based analytics to monitor valuables from production to sale or storage is recommended. “This ensures real-time visibility, prevents accidental losses, and flags discrepancies instantly, reducing shrinkage,” he says.

Watermarking Deterrent

Invisible, non-obtrusive watermarking of high-value items like jewellery, watches or even vehicle components will aid traceability, which is critical for recovery and deterrence. “Our invisible watermarking embeds unique codes on luxury goods, ensuring 100 percent accuracy in tracing stolen items back to the owner or store,” says Dorr.

This can be backed by prominent signage to deter potential thieves, informing them that stolen goods can be traced and their risk of conviction is increased. “This is especially effective for both home collections and retail inventory,” he notes.

Asleep on the Job?

According to Dorr, relying solely on security personnel to protect high-value assets is unwise due to human limitations such as fatigue, bribery or intimidation. Given Hong Kong’s current shortage of security guards, he also argues that installing around-the-clock remote monitoring by AI comes at a lower cost.

“Our systems, including drones for large properties or construction sites, cover remote areas and are immune to tampering or threats,” he says. “A luxury home or dealership can be secured over a weekend without entrusting your millions to a single guard.”

Bitcoin Collecting: The growing use of cryptocurrency in the art market attracts tech-savvy clients– just beware of scam artists…

Shopping for priceless art at auction with virtual money is fast becoming a reality. Earlier this year, Christie’s accepted payment by cryptocurrency on the vast majority of lots – about 93% – in an auction dedicated to art created by artificial intelligence. It’s a transactional breakthrough that will be welcomed by many, especially young, tech-savvy art investors, yet others are still to be convinced of digital currency’s durability, and highlight its potential risks.

Cryptocurrency was first used as payment for a physical artwork at a major auction house four years ago, according to Michael Bouhanna, Sotheby’s Head of Digital Art and NFTs in New York. The sale in question, in May 2021, involved the quintessential Banksy painting Love is in the Air, with Sotheby’s providing the option to pay in Bitcoin (BTC) or Ether (ETH) via the Coinbase exchange.

“We made a decision to accept cryptocurrency for selected physical works in 2021 in response to the evolving art market and to attract an additional pool of collectors,” says Bouhanna of this pioneering initiative. “We were noticing an increasing appetite among collectors – many of a younger generation – for seamless payment options when doing business with us, and for many, this provided another method to participate in our sales.”

Confidence in Compliance

As with any other payment at auction, compliance checks and due diligence for crypto transactions are rigorous and all-important, especially given that the sums involved can be astronomical, equivalent to millions of US dollars. “Crypto is no different from any of the other currencies we accept, and all transactions are subject to applicable laws and regulations in whichever currency they choose to pay in,” states Bouhanna.

He adds that Sotheby’s has been accepting crypto for some time now on individual lots and groups of works, and the auction house will continue to offer it as an option when it makes sense. “It’s important that everyone who transacts with us [in virtual currency] feels as welcome in our world as any other client,” he says.

Other auction houses are getting in on the act, too. Phillips Hong Kong accepts crypto on certain occasions when it is perceived to be a fit. During Hong Kong Art Week 2025, payment by crypto was offered for a Spaces digital art exhibition of eclectic works reflecting upon the intersection of art, technology and impermanence.

Not all auction houses have taken up the crypto baton, though. Bonham’s indicated that its policy at this juncture is not to accept cryptocurrency as a form of payment.

Tapping into New Wealth

Sean Hung, founder and CEO of fintech platform Acwires, can see the logic in auction houses beginning to accept crypto, aligning with how young collectors want to transact. “Over the past decade, there’s also been a lot of new wealth generated from cryptocurrency-related businesses such as service operation, trading, decentralised applications, et cetera. They are part of the new wave of collectors that auction houses would like to target,” he says.

The digital currency expert believes the future lies in convergence between crypto and traditional finance, between accessibility and compliance. Acwires allows users to buy and sell crypto with their credit card, regardless of jurisdiction and currency, and previously he helped to build Diginex, which became the first crypto exchange to list on Nasdaq.

Regulatory Clarity

He is convinced that as regulatory clarity improves and infrastructure evolves, crypto will become part of everyday commerce. “We are already seeing a shift as mainstream payment companies and banks have started working closely with crypto service providers,” he notes.

As Hung shares, blockchain transactions are inherently transparent – but pseudonymous. “The transaction is visible, but the identity behind a wallet isn’t public unless disclosed,” he says. “We still have to rely on traditional KYC [Know Your Customer] procedures to attach a wallet to the actual buyer’s identity.” He adds that there are forensics firms able to trace a wallet’s previous transactions to identify if it has been associated with suspicious activities.

Some financial commentators have suggested it is possible to evade a blockchain’s transparency through crypto mixers. Hung says leading platforms and regulated payment providers screen for such activity, and the focus now is on building infrastructure that is compliant with anti-money laundering standards through traditional KYC, and also KYT (Know Your Token) policies.

Risks and Rewards

Sam Kima, Senior Vice-President of First Gold, believes Sotheby’s and Christie’s adoption of cryptocurrency is a calculated bet to future-proof its business, attract crypto-rich collectors, and streamline transactions. By accepting crypto taps, the auction houses connect with a new class of wealthy buyers who prefer transacting in digital assets rather than liquidating them for fiat currency – which, notes Kima, can trigger tax events. He also suggests that some buyers prefer the pseudonymous nature of crypto for discreet transactions, especially in high-profile sales.

Regarding the potential risks and challenges of transactions made in virtual currency, Kima warns: “Crypto prices can swing dramatically, creating uncertainty for both buyers and sellers. Some cryptocurrencies, for example Bitcoin, have high energy consumption, clashing with sustainability goals.” In addition, he foresees that regulatory uncertainty could complicate compliance.

“Cryptocurrency in auctions is a natural evolution, aligning with digital finance trends; however, its long-term success depends on stablecoins [pegged to another asset to mitigate volatility] and clearer regulations,” he says. “If managed wisely, it could democratise art investing, but risks remain.”

Trust Issues

According to Wojtek Paczos, Senior Lecturer in Economics at Cardiff University, cryptocurrencies payment systems operate on the basis of a fundamental mistrust. He says: “Nobody trusts anyone, so the record of transactions must be decentralised: it is kept in millions of copies all over the internet in a so-called ‘ledger’. The fact that it’s decentralised makes it economically inefficient.”

In his view, for crypto to become a viable means of payment like a standard currency, it must be a unit of account, a store of value, and a medium of exchange. “Cryptocurrencies fail badly across all three [of these qualifying] tests: nobody quotes prices in bitcoins, the set of goods purchasable with bitcoin is severely limited, and the fluctuations in value against traditional currencies render bitcoin an unstable store of value.”

He believes crypto is highly volatile because it is built on this basis of mistrust and lacks a safety net to prop up its demand, such as by paying taxes via the currency. “In cryptocurrencies, the demand might simply disappear one day, and there is no formal backstop,” he says.

Scam Alert

The image of crypto has undoubtedly been tarnished by incidents of scamming and hacking. Coinbase, one of the world’s biggest cryptocurrency exchanges, was hit by a cyberattack last month that is likely to cost it as much as US$400 million. Reportedly, the company refused to pay a bribe demanded by the hackers and has promised to reimburse every client who got scammed.

Bill Lee, Chief Technology Officer of Web3 pioneer DualMint says the promise of crypto technology has been undermined by a flood of scams, rug pulls and exploitative projects. “To combat this, both the industry and regulators are stepping up,” he shares.

DualMint emerged as a response to fundamental issues within the current digital ecosystem like ownership, control and transparency. Offering some measure of reassurance, Lee says: “Within the space, there’s a growing emphasis on auditing, code transparency and self-regulatory standards, such as those promoted by organisations like the Blockchain Association and [blockchain analytics firm] Chainalysis.”

As digital-currency tech evolves and improves, collectors at auction can take heart in the virtual reality of securing a beloved work of art without paying through notes.