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The cobalt-blue studio wall of the Jardin Majorelle in Marrakech, set against green foliage and terracotta pots in bright sun.
Editorial

Marrakech · Morocco

Majorelle Blue: How a Painter (Almost) Trademarked a Colour

How a French painter lent his surname to a blue that Morocco had been dyeing, firing and painting for centuries — and what that tells us about who gets to own a colour.

Everyone repeats the same tidy line: a painter fell in love with Marrakech, invented an electric blue, and trademarked it. Almost every clause is a simplification. The colour was already deep in Morocco's visual language — in indigo, in the cobalt of Fez, in the blue of zellige — long before Jacques Majorelle poured it over a single studio wall. What he actually did was rarer and stranger: not invent a colour, but compose a place, and attach a name to a hue no one can truly own.

A vast circle of fire burning on a dark plain at night — the outline of a city with four radial roads, drawn in flame.
Editorial

Baghdad · Iraq

The City With No Ruins: What Is Left of Abbasid Baghdad

A caliph drew his capital in fire, the Mongols erased it, and a video game rebuilt it out of Isfahan and Samarkand. What actually survives of Abbasid Baghdad, where it is, and who else has tried to put it back.

Climb a viewpoint in Assassin's Creed Mirage and you see the Round City whole — double walls, four gates, the green dome at the centre. Nobody has ever seen that view. No excavated remains have been securely identified as any of it. This is what is actually left of ninth-century Baghdad, where you would have to go to stand in it, and why Ubisoft was the second team to rebuild a city that no longer exists.

A cross-section of a medieval bathhouse: bathers above, and below them two horned fire spirits tending the furnace that heats the water.
Editorial

Baghdad

The Real Jinn: How the Middle East Imagined Them Before Disney

Seven kings, one for each day of the week. A portrait of Fever. Two spirits keeping a bathhouse warm. What the manuscripts actually show — and what the lamp replaced.

Folio 35v of a manuscript in Oxford shows the public baths at Tiberias in cutaway. Upstairs, people washing. Downstairs, two jinn tending the furnace, mid-conversation. It is not what most of the world expects — and it is much closer to what the unseen was actually understood to be for. A long read across twelve centuries of manuscripts, fieldwork, survey data and horror cinema.