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Sheikh Khalid, a member of the Bahraini royal family, said the new military body, first mooted two years ago, would start “working from now” to co-ordinate against what he said was a growing threat from Iran and unrest in Yemen.

According to the agreement, Qatar is to match Saudi and Emirati financial aid to the Egyptian government and is to end support for the Muslim Brotherhood, which Sheikh Khalid accused of carrying out terrorist attacks in Egypt. Qatar’s powerful media empire, centred around Al Jazeera television, is also expected to change its editorial stance, said Sheikh Khalid, which will “stop Al Jazeera putting bad coverage on events in Egypt or anti-Egyptian government coverage”.

The Qatari government declined to comment on the agreement.

he conceded that Qatar may come back into the GCC fold “step by step”, and cited a “very unhelpful” report broadcast on Al Jazeera English on Bahrain’s parliamentary elections last month.

It often seems that the clean-shaven Morey was sent to Spain's North African colony not to investigate corruption, but to liberate its Muslim women from tradition and patriarchy; to show them that their freedom lies not in allegiance to family, but in loyalty to the Spanish state (ie the modernity that Morey represents). But, of course, Morey's romance with Fatima recycles the most vulgar, racist fantasies that white men have of Arab women. In one episode, Fatima spends five long minutes disrobing for Capitan Morey, her veil falling to the floor in slow motion.

"The series doesn't address any of these policy issues and makes it seem that the problems in El Principe are all because of our culture and religion - as always." 

Of course, this hyper-nationalist turns out to be a jihadist and a double agent. The message to Spanish viewers is clear: even your most patriotic Muslim neighbour might be a terrorist. This is irresponsible. El Principe is perpetuating injurious stereotypes of Spanish Muslims at a time when the PP government is passing draconian security laws targeting minorities in Spain.

The history of Muslims in Ceuta is rarely represented in Spanish media. There are streets named after colonial leaders like Enrique El Navegante - who killed thousands of us - but little about our contributions. And when a series finally talks about us, we're moros and terroristas

Some of Jeremy Corbyn's political tactics have been inept, but his cause has been honourable. Last week in the House of Commons he asked a series of sensible and pertinent questions in an unhysterical way.He performed the classic role of a British opposition leader. To charge him and others with being terrorist sympathisers is low politics. If Cameron succeeds in his methods British government will take a sharp turn to the worse.

charges being considered by the South Sudanese authorities included treason and terrorism, both of which carry the death penalty

certain passages in the novel some Muslims had found blasphemous

In many significant ways, the "Salman Rushdie Affair" marked the start of the rise of Islamophobia in the US and Europe, affecting millions of Muslim communities and particularly, the refugees forced to flee their homelands. Rushdie himself became a key culprit in fomenting that hatred against Islam and Muslims. As Ayatollah Khomeini led the militant Muslim fanatics, Rushdie did the same with Islamophobe liberal imperialists like Bill Maher, Christopher Hitchens and Sam Harris, with Muslim communities inadvertently getting caught in between.

Satanic Verses was the first casualty of the Salman Rushdie affair and the last novel that Salman Rushdie would write - no matter how many more he published. After February 1989, it ceased to be read on its own merits or maladies. It became an allegory, an icon, a dead certainty - non-Muslims used it to explain or to camouflage their anti-Muslim hatred, and Muslims - to denounce "the West" and its plots against the Muslim world.

The theme of the golem, after all, has been explored several times before, from the silent film era of Paul Wegener’s expressionist Der Golem (1916) until today, including in The X-Files and The Simpsons’ annual “Tree House of Horror” Halloween episodes. There have also been a small number of horror films that explore Jewish folklore, such as Ole Bornedal’s The Possession (2012), which in lieu of The Exorcist’s Pazuzu features the malicious spirit of legend known as a dybbuk, an entity which also appears in David Goyer’s The Unborn (2009), and even in the Coen brothers’ A Serious Man (2009). Yet despite a preponderance of Jewish horror directors from Curt Siodmak, creator of The Wolf Man (1941) to Polanski, Hollywood has tended not to explore explicitly Jewish themes in horror.

the sense of the terrors of the real world is fundamental to monotheistic horror, for it asks what the ultimate origin of evil is.

The Franco-Bulgarian philosopher Tzvetan Todorov in The Fantastic: A Structural Approach to a Literary Genre distinguished between what he called the “uncanny,” whereby the supernaturalism of a story can be ultimately explained by rational recourse, and the “marvelous” in what’s been depicted is to be understood as genuinely supernatural. For Todorov, that which is fantastic in literature exists in the ambiguity between the uncanny and the marvelous, where the characters in a story (and the reader) are unsure as to whether events witnessed are genuinely supernatural or not. Todorov writes: “The fantastic is that hesitation experienced by a person who knows only the laws of nature, confronting an apparently supernatural event.”

what I’ve termed “monotheistic horror” in contrast to “dualistic horror.” The latter is any work which posits supernatural evil as somehow separate in agency from God, while the former steadfastly holds to all things—even evil things—as having their origin in the Lord. I’d argue that Jewish horror fiction, for all of its diversity, must be resolutely defined by an overpowering sense of monotheism, and that it is that sense of the fundamental unity of reality that makes those works terrifying. Ghosts, goblins, and ghouls can exist in both types of horror, but in dualistic horror God is either configured as explicitly separate from those evil things, or mention of Him is passed over.

The Paz brothers’ film is an example of Jewish horror not because it takes place in a 17th-century shtetl, or because its story deals with that most Jewish of monsters, but rather because there is no sense that anything that happens doesn’t occur due to the power and sovereignty of God.

in The Golem the creature is fashioned in adherence to God’s reality. Hanna’s creation is not demonic, but rather divine—if still capable of malevolence.

Any fiction that presents the malevolence experienced in reality as integral to the unity of that very same reality is monotheistic horror. In this way, I’d argue that Franz Kafka is one of the greatest horror writers of the 20th century, with a dark perspective that rivals that of H.P. Lovecraft. The latter thought the world meaningless, but Kafka never fell into that error. The result is paradoxically a horror all the more disturbing for what it implies about evil’s derivation.

For Kafka the deep wisdom of reality is even darker than Lovecraft’s nihilism, for his horror is based on the type of irony that can only be born from the most radical of monotheisms. The author could tell his friend Max Brod that here is “Plenty of hope—for God—no end of hope—only not for us,” a succinct summation of the major themes of Jewish horror, where what is fully externalized is a theodicy that recognizes evil exists in the world while also acknowledging that God must be its author.

The ur-text of Jewish horror, and what I would argue is perhaps the most terrifying story every told, is the biblical Book of Job. Few narratives can match Job in the sheer awful implications of what’s been recounted, of the upstanding man of Uz who “was perfect and upright, and one that feared God,” but who nevertheless was struck down by the Lord with a deluge of afflictions. So many details of Job’s story, often associated with the fatalism of Greek tragedy to which it bears some similarity, have a gothic sensibility. There is Satan who talks of “roving about in the earth and … walking about in it,” and of Job cursing himself by asking, “Why did I not perish at birth, and die as I came from the womb?” Then there is the pyrotechnic impressiveness of God himself, who “answered Job out of the whirlwind, and said who is this that darkeneth counsel by words without knowledge?”

Monotheistic horror should not be interpreted as the logical culmination of monotheism itself, rather it should be seen as the dark undercurrent, the nagging anxiety, of what it means if there is only one Lord but we’re uncertain as to if He is always benevolent, for as Miles observes “all of God’s actions could actually have been the devil’s.” There is the upsetting ambiguity of monotheistic horror—not that God’s actions are the devil’s, but that they could be.

one of the most potent lessons of Jewish horror fiction: that there is a permeable membrane between civilization and anarchy, where those who claim to protect us one day can cast us aside the next. The “friends” of Job are among the most callous of monsters in the book. What makes Jewish horror so frightening is its entirely accurate understanding that all evil ultimately must have its origin not in devils, but in the two most frightening things in our sublime universe: God and his creations.

152 front pages relating to Islam or Muslims in a negative way

Possibly the most revealing part of the study relates to opinion writers at the Murdoch press. We all know their positions. Yet it is striking to see their obsession with Islam quantified. All of them write about Islam a lot. Miranda Devine, one of the least devoted Islam bashers, made 16 per cent of her 185 op eds about Islam. Janet Albrechtsen weighed in at 27 per cent, a bit less than Greg Sheridan at 29 per cent. Andrew Bolt and Rita Panahi came in at 38 per cent and 37 per cent – particularly impressive for Bolt, who produced 473 opinion pieces in the year (I suspect this counts blog items). Jennifer Oriel wrote 48 op eds, and over half were about Islam.

a kind of one-sided cultural war.

there is no serious mainstream contestation of this constant drumbeat of anti-Muslim and anti-Islam stories and op eds. These are hundreds of op eds demonising Islam, without any real response. There are apparently no Muslims working at (say) ABC or Fairfax to give a different take on these issues, or complain about what the Murdoch press is doing.

70 per cent of Australians think they know “little to nothing” about Islam and Muslims. Which raises an obvious question about what public opinion might be like if the media in Australia did its job differently