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“We never have seen it before like this,” said Jiyar Gol, a Kurdish Iranian journalist for the BBC reporting the story from London. “They really want the world to know about what is going on. People don’t fear anymore.”

the dangerous climate makes it difficult for journalists to capture the scope of the government crackdowns, and it makes them unable to independently verify figures such as death tolls, having to rely on human rights organizations for much information

Social media has played a crucial yet complex role. The primary method for people inside Iran to get information out, it has also enabled the spread of false information.

it was the Revolutionary Guard deliberately spreading those videos

at Radio Farda — part of the U.S.-funded but independently run Radio Free Europe/Radio Liberty — Esfandiari and her colleagues contacted prisoners and their families and could find no one with knowledge of such an escape. She traced the detail back to an Iranian government-aligned news agency known for false reports, then saw a quote in a more reputable news service from a prison official denying the incident.“You have to read between the lines” of official statements

Some phony social media accounts pose as critics of the government to promote false news. People sympathetic to the protests “start to reshare that [content] in the heat of the moment,” he said. “The end result is a chaotic situation, with all the disinformation and misinformation mixed together, and it could be very dangerous, because some people inside Iran risk their lives based off of this.”

there are also “honest mistakes and rumors” that get circulated, said Radio Farda director Kambiz Fattahi. Newsweek erroneously reported earlier this month that 15,000 protesters had been sentenced to death. Fact-checkers later traced the number to an activist news agency’s estimate of the number of protest arrests, conflated with the news that Iranian lawmakers were pushing a “no leniency” policy toward those detained that could include the death penalty. Canadian Prime Minister Justin Trudeau tweeted the false information, then later deleted it, which in turn became fodder for Iranian state media to accuse Canada of spreading lies

Iranian journalists working outside the country have been subject to hacking and phishing attempts. In Britain, police have warned of “credible” threats of kidnapping or killing, and the BBC has filed a complaint with the United Nations, saying Iran has been harassing its journalists and their families

“What I fear is that this pool of currently unemployed talent will switch careers, which will come at the longtime expense of the industry since these are trained professionals. I do not believe that the military [Synergy] sees this; they simply have one clear goal: to control the industry. The government has effectively, through the institutions it runs, carried out the first monopolization process in the history of neoliberalism.”

In June 2018, the authorities banned a film examining a love affair between a Muslim man and a Christian woman before it hit the cinemas, although director Khaled Youssef said he obtained the necessary licenses. The decision was later revoked, but was alarming to many given rising censorship levels

While over fifty shows typically aired during the peak Ramadan season, even during economically turbulent years as in 2017 and 2018, only twenty-four shows aired last Ramadan, and over two-thirds of them are produced by Synergy. Production powerhouses like El Adl Group and Beelink Productions were notably absent this season from their regular Ramadan run, while regionally acclaimed megastars like Yossra, Adel Imam and Laila Elwy uncharacteristically did not star in any shows during the peak season either, likely due to the dramatic, forced budget cuts which make casting an A-lister virtually impossible. Compensation levels for many of these lead faces could often be as high as EGP 50 million (~USD 3 million), the currently imposed budget cap for aggregate production costs of a Ramadan soap opera’s full season

“For a producer, the direct client of drama series is television channels, and several factors have negatively impacted their purchasing power. The GCC-owned channels are struggling in light of the economic difficulties there, primarily due to the war in Yemen, so the main overseas market for selling television series is not that great. Add to this that privately owned channels in Egypt were never highly profitable, and media budgets generally were slashed with Egypt’s high inflation levels [during the past couple of years], and you have a situation where many production companies are struggling to stay afloat.”

Over the course of the past year, EMC CEO Tamer Morsy also gradually gained majority ownership of key television networks such as CBC, ONTV, DMC and Al-Hayat, a move facilitated through the recent launch of EMC affiliate United Group for Media Services. Moreover, state-owned entities effectively gained control of both the production and purchasing sides of the business as these unprecedented levels of regulation and government ownership were put in place.

in early May United Group for Media Services launched paid streaming app WatchiT and prohibited the longtime convention of shows airing online on YouTube for those who couldn’t catch them on satellite television channels. Widely accessed streaming app EgyBest, among other free online streaming services, were also blocked to allegedly mitigate “piracy”, granting government intelligence-affiliated WatchiT a monopoly over streaming services. Since digital finance and financial inclusion levels are low in the most populous Arab country, the decision came to the dismay of throes of viewers regardless of political affiliations or regulation concerns. For those following television series on satellite channels, short broadcast announcements interrupt episodes to denounce a May 28 Human Rights Watch report on enforced disappearances, killings and torture in North Sinai. Other broadcasts order audiences to pay heed to “threats to terrorism and national security.”

“Because these people [Synergy and EMC] are military men, their mentality is to cut off what doesn’t work, with little concern for the consequences. The military don’t understand or love the arts; they see it as just another industry they can profit off by minimizing losses.”

“It’s understandable that they [the military] would be more concerned with penetrating television production as opposed to the cinema industry, because viewership numbers are higher for television series in comparison to films. Not everyone can afford a cinema ticket, but most Egyptians, be they rich or poor, have access to a television set. There’s nothing to stop them from gaining as much control of the film industry as they have with television, but I believe they’re not investing in it [as much] because it isn’t as lucrative,”

Saudi Arabia is once again opening cinema theaters following a 35-year ban, creating a significant potential box office market for Egyptian films, particularly since plans for the inauguration of 2,000 theatres in the kingdom before 2020 are in the works

our country was once the Hollywood of the Middle East,”

There was a time when everyone in the Arab world recognized Umm Kalthoum and Ismail Yassin, even more so than [our own president] Nasser. We need to work towards reestablishing that, and understanding how entertainment can be used as a tool for soft power

his news gathering and curation process is transparent–and that evokes a different level of engagement with the story even if you are only a viewer of the tweet stream and never respond or interact

on Twitter curation feeds, we are often in a position to observe the process by which a narrative emerges, trickle by trickle. “Polished” and “final” presentation of news invites passivity and consumption whereas visibility of the news gathering process changes our interaction with it into a “lean-forward” experience. Carvin’s reporting is not infallible–although most of the stories from citizen-media sources often turn out to be fairly accurate, belying the idea that Twitter is a medium in which crazy rumors run amok—but it wears that fallibility on its sleeve and is openly submerged in a self-corrective process in which reports and points-of-view from multiple sources, including citizen and traditional media, are intertwined in an evolving narrative.

This visibility of the process is a step in the opposite direction from French philosopher Jean Baudrillard’s famous assertion that we are increasingly moving towards a “procession of simulacra” in which the simulation (“the news”) increasingly overtakes any notion of the real and breaks the link between representation and the object –often in the form of spectacle–, ultimately erasing the real. Baudrillard famously wrote a series of essays titled “The Gulf War Did Not Happen” – he was not claiming that bombs were not dropped and people killed. Rather, he had argued that, for the Western audiences, the First Gulf war was experienced merely as green flickers on TV screens narrated by familiar anchors and without much connection with actual reality – reality as inhabited by human beings at a human scale.

the massive censorship of reality and images of this reality by mainstream news organizations from their inception has been incredibly damaging. It has severed this link of common humanity between people “audiences” in one part of the world and victims in another. This censorship has effectively relegated the status of other humans to that of livestock, whose deaths we also do not encounter except in an unrecognizable format in the supermarket. (And if anyone wants to argue that this is all done to protect children from inadvertent exposure, I’d reply that there are many mechanisms by which this could be done besides constant censorship for everyone.) While I cannot discuss the reasons behind this censorship in one blog post, suffice it to say it ranges from political control to keeping audiences receptive to advertisements.

I am not arguing that we would look at hurt children and be unmoved were it not for Carvin’s open display of emotion. I am arguing that traditional news anchors effectively invite us to do just that: to distance ourselves.Humans naturally react to suffering and it takes a very contrived environment to dampen that response.

watching Andy Carvin deal with his own vulnerability to imagining children hurt –children just like his– dramatically creates a mechanism in the opposite direction of that created by traditional news.

Contrary to assumptions, virtually everyone who does not fall into the rare breed of aggressive psychopaths who kill with ease has to be trained to kill. To the chagrin of military trainers and leaders throughout history, humans have an innate aversion to taking of human life. Untrained soldiers are historically averse to killing the “enemy” even when their life is in direct danger. Most will hide, duck, fire in the air, load and unload their weapons repeatedly, fire over the heads of the “enemy” and take other evasive actions, anything, to avoid killing. For example, in World War II, only about 20 percent of the riflemen were found to actually fire their weapons directly at enemy soldiers.

Twitter-curated news often puts us at bayonet distance to others –human, immediate and visceral– while television puts us on a jet flying 20,000 feet above the debris –impersonal, distant and unmoved.

a series of shared behavioral patterns. The personas identified by The Daily Beast were generally contributors to two linked sites, The Arab Eye and Persia Now; had Twitter accounts created in March or April 2020; presented themselves as political consultants and freelance journalists mostly based in European capitals; lied about their academic or professional credentials in phony LinkedIn accounts; used fake or stolen avatars manipulated to defeat reverse image searches; and linked to or amplified each others’ work. 

In February, two websites, The Arab Eye and Persia Now, were registered on the same day and began to acquire a host of contributors. 

both sites share the same Google Analytics account, are hosted at the same IP address, and are linked through a series of shared encryption certificates

Persia Now lists a non-existent London mailing address and an unanswered phone number on its contact form. The apparent editors of the outlets, Sharif O'Neill and Taimur Hall, have virtually no online footprints or records in journalism.

They’re critical of Qatar and, in particular, its state-funded news outlet Al Jazeera. They’re no big fans of Turkey’s role backing one of the factions in Libya’s civil war

constant editorial lines like arguing for more sanctions on Iran or using international leverage to weaken Iran’s proxy groups in Lebanon and Iraq. The personas are also big fans of the United Arab Emirates and have heaped praise on the Gulf nation for its “exemplary resilience” to the COVID-19 pandemic, its “strong diplomatic ties” to the European Union, and supposedly supporting gender equality through the Expo 2020 in Dubai.

criticizing Facebook for its decision to appoint Tawakkol Karman, a 2011 Nobel Peace Prize laureate, to its oversight board. Media outlets in Saudi Arabia, Egypt, and the United Arab Emirates have criicized the appointment of Karman, a former member of the Muslim Brotherhood affiliated Islah Party in Yemen, for her association with the group.

None of the Twitter accounts associated with the network ever passed more than a few dozen followers, but a few still managed to garner high profile endorsements for their work. An article by “Joyce Toledano” in Human Events about how Qatar is “destabilizing the Middle East” got a shout-out from Students for Trump co-founder Ryan Fournier’s nearly million-follower Twitter account and French senator Nathalie Goulet high-fived Lin Nguyen’s broadside about Facebook and Tawakkol Karman.

All of the stolen avatars were mirror image reversed and cropped from their originals, making them difficult to find through common Google reverse image searches

On her LinkedIn page, “Salma Mohamed” claimed to be a former reporter for the AP based in London, though no public record of an AP journalist matching Salma Mohamed’s description is available.

Another persona, Amani Shahan, described herself in bios for Global Villages and Persia Now as being a contributor to and “ghostwriting articles” for The Daily Beast. No one by that name has ever written for The Daily Beast and The Daily Beast does not employ ghostwriters. (Shahan also referred to herself with both male and female pronouns in different author bios.) 

She is mainly “an object of fascination to Europe — to Greece, to Rome — and to the stitched-together history of quote-unquote Western civilization,” Carr said. “That’s why she is the best known of the Egyptian rulers. She’s virtually irrelevant to the long history of Egypt.”

“The HBO series ‘Rome’ portrayed one of the most intelligent, sophisticated and powerful women in the world as a sleazy, dissipated drug addict, yet Egypt didn’t seem to mind,” Gharavi wrote. “Where was the outrage then? But portraying her as Black? Well.”

Though “Queen Cleopatra” is billed as a documentary series, it features an easy-to-miss disclaimer at the bottom of each episode’s credits noting that while the series is “based on true events” some “characters and situations have been altered for dramatization purposes.”

On Nov. 24, the Israeli Ministry of Foreign Affairs, Google, YouTube and some other social networks agreed to fight incitement posted on their pages.

Israel uses a number of measures to counter the postings, most notably by creating around 5,000 fake Facebook accounts, Quds Press reported Oct. 29. Those who operate these accounts are fluent in English and Arabic, and their mission is to hack into and shut down Palestinian pages by submitting reports to the Facebook administration. Israel also has arrested of a number of Palestinians during the past three months on charges of inciting to kill Israelis in their Facebook posts.

the Authority for Palestinian Prisoners' Affairs reported the Israeli army has detained 27 Palestinians on charges of incitement since October, due to their activities on social networks

there are Israeli pages in Hebrew that call Palestinians terrorists, among other bad names, but they are not being closed down