When it comes to scary movies, the motion picture academy has historically been a bit squeamish. Horror has been a cornerstone of the industry since the beginning, but Oscar voters have rarely embraced it. Only one horror film has ever won best picture: 1991’s “The Silence of the Lambs.” Even “Sinners,” which made history this year with a record 16 nominations, couldn’t close the deal.
Now, though, horror has gotten inside the house.
Opening Saturday and running through July 25, 2027, the Academy Museum of Motion Pictures’ new exhibition, “The Horror Show,” explores more than a century of horror, from silent-era landmarks “The Cabinet of Dr. Caligari” (1920) and “Nosferatu” (1922) through “Psycho” (1960) and “The Exorcist” (1973) to “Midsommar” (2019) and “Weapons” (2025). Drawn from the academy’s collection and 62 private lenders around the world, it brings together costumes, props, prosthetics, creatures and production art.
An original facehugger from Ridley Scott’s “Alien” (1979), part of the exhibition’s collection of creatures and production materials from the sci-fi series.
(Kayla Bartkowski / Los Angeles Times)
Introducing the exhibition at Thursday’s press preview, Robert Englund, who played the razor-fingered Freddy Krueger in the “Nightmare on Elm Street” films, recalled how the genre was once regarded in Hollywood. “Back when I started, we would sort of get the lousy table in the commissary by the kitchen door,” he said. Now, with the academy mounting an exhibition devoted to horror and the genre continuing to thrive at the box office, Englund added, “I think we’re getting some respect.”
Rather than a simple chronological tour through the genre’s history, the exhibition is organized into six themed “chambers” devoted to Gothic horror, psychological horror, science, slashers, religion and ghosts, with settings ranging from a shadowy crypt to a killer’s house and a haunted living room.
Storyboards from 1973’s “The Exorcist,” a clapperboard from 1976’s “The Omen” and the original Necronomicon from 1987’s “Evil Dead II” are among the artifacts in the exhibition’s religion-themed chamber.
(Kayla Bartkowski / Los Angeles Times)
Senior exhibitions curator Jessica Niebel says the idea was to walk a line between a traditional museum exhibition and a haunted-house experience.
“Horror films are about evoking an emotional response and we’re hoping the exhibition will do the same,” she says. “These are all original objects and they tell a story. We wanted to place them in an environment that brings them to life and activates them.” (The museum advises parental guidance; a smaller, family-friendly “Zombies!” exhibition is next door.)
So what’s lurking inside? Here are 10 sights worth braving. Read on, if you dare.
Bela Lugosi’s original cape from 1931’s “Dracula,” on public display for the first time after undergoing an extensive restoration.
(Kayla Bartkowski / Los Angeles Times)
Nearly a century after Bela Lugosi first swept it around his shoulders, Dracula’s cape doesn’t need much introduction. Worn by Lugosi in Universal’s 1931 “Dracula,” the simple black cape became as inseparable from the character as his hypnotic stare and Hungarian accent, establishing the visual language of the screen vampire for generations to come. Lugosi, who had first played the Count onstage in 1927, kept the cape after filming and continued wearing it for stage and public appearances until his death in 1956. Now part of the Academy Museum’s collection, the nearly century-old garment underwent an extensive restoration before “The Horror Show.” Remarkably, this is the first time it has ever been put on public display.
Anthony Hopkins’ Hannibal Lecter costume and restraints from 1991’s “The Silence of the Lambs” are on display, including the serial killer’s unmistakable mask.
(Kayla Bartkowski / Los Angeles Times)
Anthony Hopkins’ Hannibal Lecter, the brilliant psychiatrist and cannibalistic serial killer at the center of Jonathan Demme’s “The Silence of the Lambs,” is unsettling enough standing perfectly still. When he has to be moved, the precautions are extreme. Hopkins wore this orange prison uniform, straitjacket and muzzle when Lecter is transported under heavy security, strapped upright to a hand truck. Costume designer Colleen Atwood devised the ensemble, while Ed Cubberly created the famous fiberglass muzzle, deliberately leaving it uncoated to evoke the look of dried, taut skin. Seeing the outfit up close is a reminder of just how little Hopkins needed to work with: Even with virtually his entire body immobilized and much of his face obscured, Lecter somehow became more frightening.
A towering Xenomorph created by Legacy Effects for 2024’s “Alien: Romulus” offers an up-close look at one of horror’s most enduring monsters.
(Kayla Bartkowski / Los Angeles Times)
Nearly half a century after Ridley Scott’s “Alien” introduced H.R. Giger’s nightmarish vision to moviegoers, the creature still looks like nothing else in science fiction. The exhibition brings together original Giger artwork depicting the alien egg and an original facehugger from the 1979 film, the spidery parasite whose method of reproduction helped make “Alien” a landmark of body horror. There’s also an original drawing by James Cameron, who took over the franchise with 1986’s “Aliens.” But the hardest thing to miss is a towering Xenomorph created by Legacy Effects for 2024’s “Alien: Romulus.” Up close, its elongated head, skeletal body and glistening double set of jaws reveal just how much unsettling detail goes into a creature often glimpsed onscreen in darkness.
Eiko Ishioka’s blood-red armor for Gary Oldman’s Count Dracula in Francis Ford Coppola’s 1992 “Bram Stoker’s Dracula.”
(Kayla Bartkowski / Los Angeles Times)
Before Gary Oldman’s Dracula became a pale, bewigged count, he was Vlad the Impaler, encased in one of the most striking costumes in Francis Ford Coppola’s 1992 “Bram Stoker’s Dracula.” Eiko Ishioka designed the blood-red battle armor with a ribbed surface evoking both exposed human musculature and an armadillo’s shell, while the pointed helmet foreshadows the wolf Dracula later becomes. Displayed alongside several of Ishioka’s original design drawings, the armor offers a fascinating look at how her ideas evolved from pencil on paper into something almost anatomical. Ishioka, a celebrated Japanese graphic designer making her first foray into Hollywood costume design, won an Oscar for her work on the film.
Visitors can explore the groundbreaking viral promotional website for 1999’s “The Blair Witch Project,” which blurred the line between the film’s fictional story and reality.
(Kayla Bartkowski / Los Angeles Times)
Long before viral marketing had a name, 1999’s “The Blair Witch Project” was using the still-young internet to convince moviegoers that three student filmmakers might actually be missing in the woods. Directors Daniel Myrick and Eduardo Sánchez created the film’s promotional website in 1998, filling it with fake police reports, evidence photographs and an elaborate mythology while carefully avoiding any suggestion that their story was fictional. They posted on message boards and continually updated the site before the film’s release, helping turn a tiny found-footage horror movie into a grassroots phenomenon. Here, you can sit down at a chunky late-’90s computer and explore the original site yourself. Nearby is one of the movie’s crudely constructed stick figures — a reminder that sometimes a few twigs and some twine are all it takes to lodge an image permanently in the culture.
Costumes and props from some of horror’s most notorious killers fill the exhibition’s slasher chamber, including Candyman, Ghostface, Michael Myers, Freddy Krueger and Art the Clown.
(Kayla Bartkowski / Los Angeles Times)
Slasher movies have always depended on a memorable killer, and the genre has produced some of horror’s most instantly recognizable figures. Freddy Krueger, Michael Myers, Ghostface and Art the Clown are gathered here in full costume, looking less like museum pieces than a welcoming committee you’d rather not encounter. Nearby cases turn slasher movies’ grisly tools of the trade into artifacts, with masks and weapons from “Saw,” “Us,” “M3GAN,” “The Black Phone” and other films. It’s a reminder of how little a slasher movie really needs to get under your skin.
The handmade “Mister Babadook” pop-up book created by illustrator Alex Juhasz for Jennifer Kent’s 2014 “The Babadook.”
(Kayla Bartkowski / Los Angeles Times)
Sometimes the scariest special effect is a pop-up book. In Jennifer Kent’s 2014 “The Babadook,” the sinister children’s book “Mister Babadook” heralds the arrival of the top-hatted creature that terrorizes a widowed mother and her young son, while giving physical form to the grief consuming them. Kent turned to illustrator Alex Juhasz to create the handmade book, drawing inspiration from the eerie silhouetted animation of German filmmaker Lotte Reiniger from the 1920s. Opened to one of its more elaborate spreads, the original prop is both beautifully crafted and deeply unsettling, its seemingly innocent children’s-book mechanics revealing a grinning black figure and the ominous command: “LET ME IN.”
A re-creation of the mummified Mrs. Bates from Alfred Hitchcock’s immortal “Psycho” gives visitors a chance to pose with Norman Bates’ dearly departed mother.
(Kayla Bartkowski / Los Angeles Times)
The Academy Museum wanted the original mummified Mrs. Bates head from Alfred Hitchcock’s “Psycho,” but there was one problem: She was too fragile to travel. The Cinémathèque Française, which owns the 1960 prop, declined the museum’s loan request. “I was really disappointed about that, but it’s totally understandable,” Niebel says. “We probably wouldn’t have lent her if she were in our collection.” So the museum commissioned Oscar-winning makeup artist and sculptor Mike Hill, fresh off his work on Guillermo del Toro’s “Frankenstein,” to research and create a full-body Mrs. Bates instead. Unlike the many delicate original artifacts elsewhere in the exhibition, this one was made to let visitors get close and take home their own slightly unsettling family portrait. Just don’t get too close. As a nearby sign warns, “Mother isn’t quite herself today — do not touch, she needs her space.”
The spectacularly gross Monstro Elisasue bust, created by makeup and special-effects artist Pierre-Olivier Persin for Coralie Fargeat’s 2024 “The Substance.”
(Kayla Bartkowski / Los Angeles Times)
By the time Coralie Fargeat’s 2024 “The Substance” reaches its gloriously grotesque climax, Demi Moore’s Elisabeth Sparkle and Margaret Qualley’s Sue have effectively fused into the spectacularly deformed creature known as Monstro Elisasue. The exhibition puts designer Pierre-Olivier Persin’s bust of the creature alongside the syringes, vials and other medical paraphernalia from the mysterious Substance kit that sets the movie’s nightmare in motion. Fargeat has described body horror as a “weapon of expression” for confronting the pressures placed on women’s bodies, particularly as they age. As Fargeat puts it in the exhibition’s wall text, she wanted audiences to see that women’s “pearly smiles are made of so many horrendous things that we have to keep within ourselves.”
The Blood Room, streaked and splattered with cinematic gore, provides the only way out of “The Horror Show.”
(Kayla Bartkowski / Los Angeles Times)
Fittingly, there is no clean getaway from “The Horror Show.” Every visitor must exit through the Blood Room, a gruesomely immersive space whose walls are streaked, smeared, splattered and practically dripping with the red stuff. To get the gore just right, Niebel turned to Oscar-winning special makeup effects artist Howard Berger, a veteran of such splatterific films as “Evil Dead II” and “Kill Bill.” Berger worked with the museum and its fabricators to create the room’s layers of fake blood, varying the colors and consistencies to suggest everything from dark, dried stains to fresh blood still running down the walls. Just when you think you’ve made it through, the exhibition has one last gruesome touch: To escape, you have to push your way through a set of bloody butcher curtains.
England maintained their excellent one-day form as they eased to a comfortable victory against Sri Lanka, as Will Jacks’ stars with bat and ball to help the home side to an 89-run win at Chester-le-Street in the first ODI.
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London City Lionesses earn their first away win of the season, ending a four-game streak without a victory on the road, as they emphatically beat a struggling Charlton side that have lost all three of their WSL games.
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Tehran, Iran – Hossein, a 32-year-old marketing specialist based in Tehran, has been thinking of replacing his 13-year-old Iranian-made car with a newer model.
Even though he earns about four-and-a-half times the minimum wage after a recent pay rise – his salary is now close to 900 million rials (about $390 at the current exchange rate) – imported vehicles are not even remotely affordable for him.
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Even finding a locally made car might be out of his budget, with an economic crisis gripping the country since the United States and Israel launched a surprise war on Iran on February 28 and later enacted a crippling siege and sanctions on the country.
“I’m losing hope of ever being able to buy a new domestic production car too, unless the country opens up and becomes a bit more normal again,” Hossein, who asked to keep his full name confidential for security reasons, told Al Jazeera.
His old manual Peugeot 206 model, an originally French-made car but now produced domestically after foreign counterparts left Iran due to sanctions, can fetch up to 10 billion rials ($4,350) if he sells it towards making a new purchase. However, his replacement options are limited.
Upgrading to a slightly improved Peugeot 207 with an automatic gearbox could cost him 28 billion rials ($12,170) now. This means that, after selling his car, he would need more than 20 months of his entire salary.
A domestic sedan Shahin model costs more than 31 billion rials ($13,480), and a crossover Reera is priced at more than 43 billion rials ($18,700).
With these options, he would need to save about 24 months and 37 months of his whole salary, respectively, and that is if prices remain stable and he does not spend a rial on anything else. But the reality of the fast-rising living costs and lagging incomes in Iran means he can barely put aside any money, let alone afford a new car.
Domestic car prices have mostly risen 40 to 80 percent since the start of the war, while some vehicles sell for more than 130 percent of their September 2025 costs.
The costs of maintaining the vehicles are also rising much faster than people’s salaries. Domestically produced tyres, motor oil, brake pads and clutch kits have at least doubled since last year, with some car parts having more than tripled in price.
Domestic vehicles have generally low safety standards, meaning that they contribute to staggering road accident deaths. At least 1,609 Iranians have been killed so far on intercity roads in the current month of Shahrivar of the solar Hijri calendar, which ends on September 22. More than 20,000 people lose their lives on the roads every year. In comparison, fewer people in the whole of the European Union, nearly five times Iran’s population, died on roads last year.
Iran’s fuel-guzzling cars also contribute to smoke-congested city streets, degrade vehicles faster and increase fuel costs, just as petrol prices have risen for users.
Experts say, due to a combination of protected state-linked businesses, privileged access, economic isolation and a curtailing of imports, Iranian households have no choice but to pay exorbitant prices – compared with their salaries – to buy low-quality cars.
The damage from the war, including the extensive bombing of multiple steel giants by Israel and the US, has only added insult to injury. The naval blockade of Iran’s southern ports has prevented goods coming in from popular neighbouring markets like the United Arab Emirates.
Under such circumstances, domestic vehicle manufacturers have little incentive to improve.
End customers are also beset by government charges, currency and financing costs, margins levied by murky intermediaries – and in numerous documented cases, industry corruption.
“People are forced to buy expensive low-quality cars whose real prices should be a quarter of global prices, and this is a direct harm done to them,” Mohammad Rashidi, a member of the presiding board of Iran’s parliament, told local media on Saturday. “The traces of a mafia system are visible throughout the process.”
His claims echo those of other officials and state-linked media, who have openly described the industry as resembling an organised crime operation.
According to the latest figures released by state media, about 233,000 cars were manufactured or assembled in Iran in the first five months of 2026, compared with 366,000 the year before. Only about 25,000 vehicles were imported in that period.
Only a handful of state-linked companies or intermediaries are allowed to import vehicles, with duties plus value-added tax increasing final prices up to 200 percent.
The government and parliament have discussed lowering import tariffs this year, with no agreement announced so far.
The premiums are more visible for high-end cars, with a 2026 Toyota Land Cruiser VXR going for approximately 660 billion rials ($287,000) in Iran at the moment, while the same model is available for about $86,000 in the UAE. The same story applies to most other models, at different rates depending on the rarity of the vehicle and the availability of parts.
The price of a mid-range Chinese-designed SUV sold as Exeed VX in international markets is listed at about $32,000 in China, while it is priced at about $42,000 in the UAE. The same car, assembled from imported parts by a state-linked company in Iran under a different name, currently costs Iranian customers the equivalent of $53,000.
The bizarre situation was on full display during a three-day “international” car exhibition in Tehran last week that mostly featured Chinese-manufactured vehicles. These remain available in Iran despite the US sanctions, since Tehran exports almost all of its oil to China and barters this for goods, including cars.
Some domestic manufacturers and importers were absent, either because they had no products to offer or because they had angry customers who registered months ago to get vehicles they never received. Spare parts for some of the vehicles on display are currently either not available in the Iranian market or cost several times their price in international markets.
Even the cheapest vehicles offered at the exhibition were completely unaffordable to the average Iranian. It would take a worker on the minimum wage with standard allowances 50 years to buy an XPENG G9, a Chinese-made electric SUV priced at 120 billion rials ($52,150), on his or her salary, without spending a rial on food, housing or clothing.
Still, there were huge queues outside the exhibition centre each of the three days.
“It was sad because most people just came to take pictures with the cars they knew they could never afford,” a young man who attended the exhibition told Al Jazeera. “The doors of the cars were locked too.”
BBC Radio 5 Live brings you more Premier League commentaries than anywhere else this season, with 209 live matches.
You can listen to selected commentaries, plus updates from around the grounds, on BBC Sounds, the BBC Sport app and website and via your smart speaker.
Saturday, 19 September
Arsenal vs Brighton (15:00) – BBC Radio 5 Live
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BBC Sounds is the place to find every 5 Live Premier League commentary this season, with more ways to listen via the app than ever before.
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The U.S. military’s top officer on Wednesday talked about how AI is changing the character of warfare and offered two examples to illustrate his points. His comments included new insights into how two U.S. Army AH-64 Apache crew members were rescued after being shot down by an Iranian drone near the coast of Oman in June. The recovery effort involved America’s first known use of an uncrewed surface vessel (USV) executing a personnel recovery action as part of a military search and rescue operation.
“Information moves so fast that leader decision times have compressed from weeks down to days down to seconds,” explained Air Force Gen. Dan Caine, chairman of the Joint Chiefs of Staff, during his keynote speech at the Air & Space Forces Air, Space and Cyber Conference that TWZ is attending. “In the future fight, advantage will go to the side who can see first, who can understand first, decide first, and act first, and along the way, be a learning organization, and no factor is accelerating change as fast as artificial intelligence and advancing cyber capabilities.”
“AI is here now, and it’s already changing the way militaries see, sense, decide, and act across the joint force,” the chairman proclaimed.
The first example Caine used to highlight these changes took place on June 8. After the Apache went down, “U.S. CENTCOM launched a rapid, responsive joint search and rescue effort to recover the crew. That response drew on the totality of the joint force, and ultimately was required to use enabled unmanned vessels to participate in the rescue of downed U.S. service members for the first time ever.”
As we noted in our previous coverage, CENTCOM deployed “a U.S. Navy Corsair unmanned surface vessel,” the command’s spokesman told us at the time.
The ability to pull off that rescue mission “did not appear overnight,” Caine pointed out. “It came from the men and women of Task Force 59, CENTCOM’s forward-leaning unmanned joint maritime unit who spent the last several years testing, integrating, and operationalizing unmanned systems and AI in one of the most demanding and kinetic environments on Earth right now.”
“What helped make this possible was not a bunch of general officers and flag officers,” Caine continued. “What made this possible was a bunch of entrepreneurial sailors and members of the joint force on watch floors, at piers, managing networks of unmanned systems across thousands of miles of water, and using AI to turn massive amounts of data into a crisp, clear, perfect maritime picture that allowed us to go grab those two soldiers in the water.”
The second example Caine shared about the use of AI “points in the other direction, not how quickly we are using these tools, but how quickly these tools are changing the threat.”
In Ukraine, “we see first-person view drones operating in heavily contested EMI [electromagnetic interference] environments. Some now using AI-enabled computer vision to continue to drive towards targets, even when there’s no GPS or the links are cut. That gives small units affordable precision and shows how quickly software and autonomy are changing what is possible at the tactical edge, and the results are stark.”
The use of AI to enable lower-end drone warfare is a topic TWZ has been among the first to point out.
“In certain locations on the front line of troops right now, the life expectancy of a new Russian recruit arriving on the front lines is as little as 20 to 30 minutes,” Caine added. “Think about that. This is what happens when low-cost precision is fielded fast, adapted quickly, and scaled across the battlefield.”
“The price of lethal exchange is decreasing day over day,” the chairman noted. “One wonders what the future of close air support looks like, but I am comforted by the fact that each and every one of you are in this room thinking about that. Taken together, these examples from the Straits of Hormuz to the front lines in Ukraine show how quickly technology is changing the character of war, and this means our joint force needs to do two things at one time.”
“[W]e need to prepare the joint force to win in this kind of conflict,” the general stated. “We have to assume from now on that our formations will be hunted by autonomous systems, jammed across the spectrum, and tracked in real time, and we have to transition the joint force to be prepared to fight and win our future war by generating and delivering lethality at scale with an agile, optimized, high-low mix of combat capabilities to give the young members of the 2.8-million member all volunteer joint force the tools that they need before they need them.”
Contact the author: howard@twz.com
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Fund managers have shifted their primary market worry. Bank of America’s September Global Fund Manager Survey, which polled 170 investors overseeing $470B in assets now ranks a disorderly rise in bond yields as the top tail risk.
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Captain Joe Root and Jordan Cox helped England fight back from an early scare as the hosts recovered from 2-2, to successfully chase down 130 and wrap up an eight-wicket win and a 3-0 series clean sweep against Pakistan at Edgbaston.
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LONDON: The stabbing of a Saudi visitor during an attempted robbery in one of London’s wealthiest districts this week has sparked new discussions about the safety of Gulf tourists in the British capital and the precautions travelers should take in major European cities.
The man, in his 40s, was stabbed in Berkeley Square, Mayfair, on Thursday. Metropolitan Police officers and London Ambulance Service crews attended the victim, who was treated and taken to hospital. His injuries are said to be not life-threatening.
A 58-year-old man was arrested at the scene on suspicion of grievous bodily harm, possession of an offensive weapon and attempted robbery.
“This appears to be an isolated incident and there is currently nothing to suggest an ongoing risk to the wider public,” a Met spokesman told Arab News. “We recognize that this will cause concern among the community. Tackling knife crime and serious violence remains a priority for the Metropolitan Police.”
The Saudi embassy in London said it was coordinating with British authorities, supporting the victim and monitoring his condition until he is discharged.
It called for the investigation to be completed swiftly and for those responsible to be held accountable, while urging Saudi citizens in Britain to exercise caution and avoid carrying valuable possessions openly in public.
Arab News understands the embassy is expected to release the victim’s name shortly.
Reports indicate the attempted robbery may have been motivated by a luxury watch inside the man’s backpack, although it was not visible and nothing was ultimately stolen.
The incident has nevertheless resonated among Gulf travelers for whom London has long been a home-away-from-home and one of their favorite European destinations.
Jocelyne Elia, travel editor at Asharq Al-Awsat, said high-profile incidents could influence how visitors perceive the city even when they are statistically rare.
“Incidents like the recent stabbing are understandably concerning and can affect how safe Gulf visitors feel when travelling to the UK,” she told Arab News. “The Gulf is an extremely important tourism market for Britain, so repeated incidents could damage confidence and influence people’s decisions about where they travel, stay and shop.
“It is important that UK authorities respond strongly to these crimes while making clear that they are isolated incidents and that the UK remains a welcoming destination for Gulf visitors.”
Saudi tourism alone is a significant market for Britain.
The UK received a record 344,000 visits from the Kingdom in 2024, during which Saudi travelers spent about £771 million — an average of more than £2,200 per visit according to VisitBritain, citing data from the Office for National Statistics’ International Passenger Survey.
Figures obtained from the Metropolitan Police provide a partial picture of the crimes experienced by Saudi and other Gulf nationals in London. Records show 35 Saudi nationals were recorded as crime victims in 2021, rising to 65 in 2022 and 85 in 2023 — a total of 185 over the three years. Of those cases, 97 involved theft, 41 violence against the person and 12 robbery.
Across the six Gulf Cooperation Council nations, 498 people were recorded as victims during the three-year period, including 219 involving theft and 137 violence against the person.
The Met says some 92 percent of total recorded victims do not have a first nationality recorded. The figures also do not distinguish tourists from residents, students or other people, and so cannot be used to calculate the risk of a Saudi or Gulf visitor becoming a crime victim.
The Mayfair attack also comes little more than a year after the death of a Saudi national in Britain in another stabbing attack, although the circumstances were very different.
Mohammed Yousef Algasim, 20, was attending a 10-week English-language course in Cambridge when he was stabbed in the neck in an unprovoked attack outside his accommodation on Aug. 1, 2025.
His killer, Chas Corrigan, was convicted of murder in March and sentenced in June to life imprisonment with a minimum term to be served of 22 years and six months.
CCTV showed Corrigan, who had been drinking and had taken drugs, approach Algasim before walking away, turning back and stabbing him with a kitchen knife.
Such cases have contributed to concerns over violent crime, while the much more common experiences of pickpocketing, phone snatching and theft has increasingly shaped tourists’ perceptions of some European capitals.
The picture, however, is more nuanced than individual incidents might suggest.
Berkshire Hathaway Travel Protection’s 2026 ranking of the safest cities for travelers places four European cities among its top five; in order, they are Reykjavik, Copenhagen, Zurich, Amsterdam and Honolulu. London is ranked 13th safest overall and eighth specifically for safety from violent crime.
The company cautions that the survey measures conditions and traveler perceptions at a particular point in time rather than providing a guarantee that visitors will not encounter crime.
At the opposite end of the spectrum, a 2024 Forbes Advisor study of 60 international cities ranked Caracas as the riskiest destination for tourists, followed by Karachi, Yangon, Lagos and Manila.
Its assessment went beyond street crime to consider personal and health security, infrastructure, natural-disaster exposure, digital safety and government travel advisories.
However, a city can rank comparatively highly for overall safety while still experiencing particular forms of crime at levels noticeable to visitors. In London, mobile-phone theft is perhaps the most visible example.
A Metropolitan Police data series recorded 117,211 mobile phones stolen in London in 2024, the highest annual figure in the series and equivalent to about 321 phones a day. That followed 115,261 recorded stolen phones in 2023 and 90,810 in 2022.
The Met said it moved to a new crime-recording system in February 2024, meaning care must be taken when making direct comparisons. A newer offence series recorded 81,365 mobile-phone theft offences in 2024 and 71,391 in 2025, a decline of 12.3 percent. The difference reflects different police datasets and recording methodologies.
Police have since mounted their largest crackdown on phone theft to date. Earlier this summer, the Met released footage showing officers pursuing suspected phone thieves on high-powered e-bikes, conducting raids, arresting alleged handlers and recovering stolen devices as part of Operation Reckoning.
One raid on a shop in northwest London recovered more than 1,000 suspected stolen phones.
An earlier four-week phase of the operation resulted in 248 arrests and the recovery of 770 devices, while another investigation dismantled what the Met described as the UK’s largest mobile-phone smuggling network, responsible for trafficking as many as 40,000 stolen devices to China during 2024 and 2025.
Police said the network was handling the equivalent of about 40 percent of phones stolen in London at the time.
The crackdown appears to be having an effect, something London Mayor Sadiq Khan has been quick to capitalize on.
Across London, the Met said theft-from-the-person and robbery offences involving stolen mobile phones fell by 18 percent in the 12 months to May, representing around 14,000 fewer offences. Those falling figures provide an important counterpoint to perceptions of London as a city experiencing an unchecked crime wave.
But Elia said the Mayfair stabbing demonstrated why travelers should still take practical precautions, particularly in areas associated with luxury shopping, restaurants and nightlife.
She rejected the suggestion that Arab visitors should change traditional clothing or conceal their nationality because of safety concerns.
“The advice should simply be to be discreet with expensive watches, jewelry and designer bags, and phones, particularly in crowded areas or late at night,” Elia said.
“Keep valuables covered where possible, stay aware of your surroundings and avoid openly displaying expensive items. This is sensible advice for all tourists, not just Arabs.”
She added: “Saudi-British relations are strong, but the British government must do more to tackle rising crime, especially phone theft and robberies.”
For Gulf travelers, the latest attack presents a dilemma familiar to visitors to many of Europe’s largest cities.
London remains highly ranked for overall tourist safety and police data suggest several forms of street crime are falling after intensive enforcement.
At the same time, the stabbing of a Saudi visitor in the heart of Mayfair — coupled with the prevalence of phone and luxury-item theft — is a reminder that relative safety does not eliminate individual risk.
For the hundreds of thousands of Saudi visitors who travel to Britain each year, the message from both the embassy and travel experts is therefore one of vigilance rather than avoidance: London remains open to them, but valuables, surroundings and personal security cannot be taken for granted.
