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The third group is the political opposition and independent civil society. In democracies, open media are the lifeblood of politics. In authoritarian regimes, state-controlled media seek to isolate activists from society at large, with the idea of preventing them from organizing and mobilizing.

The fourth group is regular Internet users.

As with traditional media, restrictive online measures are not designed to block everything but are aimed chiefly at obstructing news about politics or other sensitive issues from consistently reaching key audiences.

The intense attention devoted to the rise of new media in recent years has led many to underestimate television’s enduring and powerful role as an undemocratic force in authoritarian societies.

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.

by being posited as films that inform, educate and explain what is going on here to audiences over there, these films become central to a pre-existing East-West dynamic—a sphere of knowledge production and image-making that tries to translate the orient to an elsewhere

These are discourses that seek to “save brown women from brown men” or brown liberal men from oppressive brown regimes, or basically to save the Arabs from their Arabness, with all the cultural stereotypes such a term entails.

The problem with these films is that they ignore the interconnectedness of “developed” and “developing” countries, of authoritarianism in the Middle East and liberal democracies in the west, of Islamic fundamentalism and the Cold War, and of metropolitan centers of global capitalism and the dispossession of millions all over the world. The problem gets even more complicated when entitlement and ability to represent becomes unquestioned.

These films portray living stereotypes of actual people, focusing on the elements of their lives that are ‘interesting’ only in so much as they tell us something about clichéd versions of Egypt, Tahrir, Islam, women, art and war, conflict, poverty, dispossession and resistance. These topics are not interesting for those who live in war, conflict, poverty and dispossession, those for whom Tahrir was not a spectacle and resistance is a complicated act. In such a context these issues might be relevant, but they are only interesting somewhere else.

I am skeptical of the act of representation itself, the provision of ready-made, easily translatable narratives about 2011 as if the revolution was a thing, and as if "Arabness" is also a thing. If postmodernism declared the death of the meta-narratives—teleogically oriented, totalizing worldviews that tend to put in a claim for the universal and promise utopian resolutions that are yet to occur—Arab Spring documentaries lie on the opposite side of the spectrum. The conditions of their existence, profitability, visibility and circulation depends first and foremost on their claims to a certain truth about “what really happened” over there. But neither the "Arab Spring" nor the "Arab World" can be explained through the sum of their parts. They are constructed, time and time again, through the very narratives that eclipse alternative imaginaries, historical renditions or analyses by foreclosing the realm of imagination all together.

They don't shy away from the problems women face in everyday life, such as forced marriage, sexual molestation, the lack of female education, and domestic violence - matters this society is not accustomed to discussing openly.

It is hardly surprising that women, who for the first time see their own experiences reflected in the public domain, form a significant part of Kannywood's audience. They also play a considerable role in the industry itself. According to the Motion Pictures Practitioners Association of Nigeria, 75 percent of the Hausa movie actors are female, as is the case for two-thirds of the association's members - from singers and producers to actors and make-up artists.

the Kano-based film industry is providing jobs and business to the city, something that went a long way towards improving public opinion of the profession.

not more than 10 years ago, a moralistic backlash triggered by a sex scandal almost destroyed the local film industry. As is often the case in public fights about morality, the female body was the battleground.

The Censorship Board came into existence before the scandal in 2001, and is a combined initiative of the local film industry and the state government. It was a response to the adoption of Islamic law in Kano a year earlier. Under the law, filmmaking was under threat of being abolished altogether. In order to avoid that, Kannywood voluntarily subjected itself to stricter censorship.

stricter guidelines, such as the banning of married women from acting, while also requiring all women in the industry to have a male guardian who would be legally responsible if their ward broke the rules

The overly zealous KSCB executive lost his moral authority when the police caught him in a compromising situation with a young girl in his car, and Kannywood celebrated when, in 2011, the newly elected governor appointed a new head of the Censorship Board.

He describes the task of the board as "preserving Hausa culture".

"We don't like to see body contact between men and women. No handshaking, let alone kissing," he says. "And no nudity or transparent dresses." The general secretary explains how things such as prostitution, lesbianism and adultery may be portrayed, as long as it is clear to the audience that they are unacceptable. Song and dance are permissible, as long as there is no physical contact between the sexes.

"Filmmakers themselves understand they have a task to educate people and cannot go against society,"

Kannywood movies do transmit empowering messages to a female audience

"It's the masses who watch Kannywood movies, not the elite. The general public is more ready for social change than political and religious leaders."

female producers are rare, let alone female directors

most female producers work with a male assistant to get things done on the ground

The abundance of media options is a central feature of today’s information environment. Many accounts, often based on analysis of desktop-only news use, suggest that this increased choice leads to audience fragmentation, ideological segregation, and echo chambers with no cross-cutting exposure

mainstream media outlets offer the common ground where ideologically diverse audiences converge online

more than half of the US online population consumes no online news, underlining the risk of increased information inequality driven by self-selection along lines of interest

Our dataset traces news consumption across different devices and unveils important differences in news diets when multiplatform or desktop-only access is used.

Weak mobile and internet penetration, though increasing, stifles the ability of the industry to flourish

in Africa, podcasts are produced in many of the native languages, including Arabic, and thus reach audiences that are otherwise ignored by podcasters who reside outside of the Global South

globally, including in Africa, traditional radio is tethered to governments in terms of regulation and licensing and thus subject to various levels of censorship. On the other hand, podcasting is more rogue, with niche non-standard formats and topics. As a result, there is an exciting variety of podcasts, including emerging podcasts in true crime, wellness, history, and identity and culture. There is also a reciprocal relationship between the content podcasters are creating and what podcast listeners are interested in; meaning there is a focus on audience engagement. Buoyed by the growth in African podcasts that speak to the African experience, African podcast listenership has expanded.

PodFest Cairo is Egypt and Africa’s first podcasting conference, bringing podcasters and podcast listeners together to share experiences. Africa Podfest is a Kenyan, woman-led company which founded Africa Podcast Day (February 12) and whose primary objective is to cultivate the African podcasting community through networking and sharing resources. 

in Africa, where it’s estimated that there are at least 1500 languages, podcasts are produced in many languages

Aaisha Dadi Patel, a writer and journalist at the Wall Street Journal Africa bureau, says audiences are more likely to listen to the radio as opposed to undertaking the added burden of trying to find, download, and then listen to a podcast, not to mention the exorbitant cost for data

Just as the podcast medium’s presence is increasing in Africa, so too is research in the field. South African podcasters have seen their community grow and firms, like Edison Research, have taken notice by collecting data on the region, releasing their first report on South Africa in 2019. Scholarly research has also increased

Africa is the continent with the youngest population worldwide, with around 40 percent of the population aged 15 and under compared to the global average of 26 percent

Africa Podfest reports dating back to 2018 indicate that the types of podcasts released in Africa are consistently hyperlocal

Psychiatrists have warned that the repeated viewing of such visceral imagery can lead to what’s known as “vicarious trauma,” damaging people’s mental health

Some commenters there say the videos offer a grisly lesson. They have “basically taken all the ‘glory’ out of war,” one Redditor said in a thread discussing a video of an injured Russian soldier taking his own life. “I wish politicians would watch these vids as they had their morning coffee.”Others there celebrate the violence or riff on the strange banality of seeing such carnage from home. “I’m eating coco puffs watching this,” one Redditor said on a video showing Russians soldiers killed with grenades.

The Ukrainian government last year began posting photos and videos of captured and killed Russian soldiers to Telegram, Twitter and YouTube in hopes of inflaming Russian protests over the war’s human costs. Military-justice experts told The Post that some of the images likely violated the Geneva Conventions, which demand governments shield prisoners of war from “insults and public curiosity.”

White supremacists have for years spread videos showing violent acts committed by people of color to inflame racial animus in hopes of winning potential recruits, Henry said. In recent conflicts, such gruesome videos have been used to dehumanize the enemy and get international viewers feeling more invested in the fight

“When any of the various Ukraine war influencers share videos of Russian soldiers dying from drone attacks, part of the strategy is to appeal to American or European audiences who see Russian soldiers as part of a wider hated out-group and Ukrainian soldiers as sort of like themselves.”

such videos have also been used to sow terror and provoke an emotional overreaction that could enrage onlookers, expand a conflict or play into the attackers’ hands, said Amanda E. Rogers, a research fellow at the Century Foundation think tank who has studied extremist propaganda. Nearly a decade ago, she said, the Islamic State’s video-recorded beheadings of aid workers, journalists and others helped mark a turning point for terrorists who saw the value in publishing footage so heinous many viewers felt they couldn’t ignore it.

Israel’s Foreign Ministry has adopted a similar tactic to enrage Western audiences by running hundreds of haunting YouTube ads, including videos in which Israeli medical examiners describe what they saw in their autopsies of the bodies of children purportedly killed during the Hamas attack, according to YouTube’s ad library.

The collective formed in the days following the January 2011 uprising when it set up a "human rights media tent" in Tahrir Square as "a point to collect footage that people had of police abuses".

Asked whether they see themselves as activists or journalists, Hamilton explained how they have a "definite journalistic push". "We have a decentralised approach. We don't have an editorial policy, we don't have an editorial meeting at the beginning of the day to tell people where to go." Anyone can contribute footage, creating an "almost infinite number of camera people" who can be out filming, using mobile phones, DSLRs and hand-held video cameras.

"We are both attacking state media and trying to push traditional media outlets into taking a stronger stance and backing them up in being able to show things that perhaps felt they were unable to show. "We are also empowering everyone that has a camera phone to make them feel like they can contribute to a wider narrative rather than just uploading it to YouTube."

Mosireen is therefore reaching out to those without internet access, which is "one of the big, big, big challenges". "It's very easy to forget how hyper-connected we are compared to most of the world," Hamilton said

The citizen journalists have licensed footage under creative commons on YouTube and Vimeo, where others can download the films. These can be used by broadcasters.

It is not the international audience the activists are focused on. "We are in a fight that is going to be settled, or won or lost, here [in Egypt], so we don't need to spend too much time talking to or addressing international audiences. "It's really much more about Egyptian public opinion and the narrative within Egypt that is important, and helping people get access to the truth."

The best rap and metal in the region succeeds because it manages to avoid both the kind of “extreme consciousness of doom” that leads to aesthetic nihilism, hyper-stylized violence and other forms of artistic “idle chatter,” while also avoiding the kind of surrender to the culture industry which leads even the most well-intentioned of mainstream artists to “collaborate with culture as its salaried and honoured nuisance” rather than challenge it directly from the margins.

the ultimate function of immanent criticism: to enable a positive synthesis, or irreducible hybridization of identities. Such identities can not be subsumed under any dominant ideology or political and economic narrative and therefore cannot serve to reinforce them

in the Middle East and North Africa region, in the years leading up to the current revolutionary moment, the growing popularity of metal and rap music represents a return of the aura to local music scenes. Both Benjamin and Adorno believed that a remnant, or perhaps better, specter of the original aura remained within works of art even in the mechanical/industrial age. This spector becomes visible in the kind of critical art represented by the groups discussed here, contributing to the continued “excessiveness”, “aesthetic deviance”, and “pointing elsewhere” towards cultural difference and a different future that characterize the best exemplars of the music

As Moe Hamzeh, leader of one of the most talented and successful Arab rock/metal groups, Beriut's The Kordz6, explains, while Arab rock or rap artists obviously want to be successful, the relative lack of interest in the two genres by Rotana and other Arab media conglomerates has been a blessing from an aesthetic perspective. It has saved them from the inevitable fate of all commercialized popular music, whether American hiphop and hair metal to Arab video-clip driven pop. At the same time, the lack of commercialization has made the public performance of the music, usually in small group settings or festivals geared specifically to fans of the genres, the crucial means of creating audiences and building solidarity among their communities of fans.

singers and rappers were actually smiling as they performed their music. And so were the crowds surrounding them. This is likely not the vibe Adorno imagined would surround the kind of immanently critical music he felt was necessary to wake people up to the false consciousness they had been mindlessly inhabiting. But it points to a crucial problem with Adorno’s musical aesthetic, at least form the standpoint of reception. The more abstract, atonal, and devoid of recognizable harmonies or rhythmic pulse a piece of music is, the harder it will be for it to inspire a large number of people. Once people are actually on the streets protesting rather than in their smaller subcultural gatherings, they need something catchier and more uplifting to sing along to than brutal vocals and rapid fire rhymes

Adorno did not think much of the aesthetic and political potential of folk music, which he tied both to nationalist and fascist sentiments. In its then present-day form (rather than traditional-historical form), he believed it to foster little more than a “pseudo-folk community,” particularly in its cultural and aesthetic historical trajectory in Germany. But in Egypt as in the United States, the music has played a more critical political role in struggles for political freedom and social justice.

the band’s popularity is inseparable from its dual role as a voice of protest and a regenerator of traditional styles of music that recently were in danger of disappearing completely because of a combination of market forces and government censorship

What the kind of joyful hybridity exemplified by the production style of Armada Bizerta and myriad other rap groups around the Arab and larger Muslim worlds (and across Africa) reveal is that even within one genre of music, such as hip hop, talented artists can create innumerable sonic tapestries to match, and help shape, the national mood—from dissonant anger to joyful creativity—as the political and cultural situation on the ground changes. Their flexibility is key to their function as the kind immanent critique Adorno and other critical theorists hoped would be able to “reliquify” the “congealed” ideologically bounded identities imposed by authoritarian regimes on their citizens

The joyful aesthetics of groups such as Amarda Bizerta, Emel Mathlouthi, Ramy Essam, and other artists at the heart of youth-inspired revolutions challenges Adorno’s belief that critical music in the age of mass reproduction and consumption has to be, essentially, hard to listen to in order to make the listener think and perhaps even motivated to take some form of action. It seems that while in the pre-Revolutionary period, when cultural expression was still heavily policed, this indeed was the case—thus the power and popularity of genres like metal and hardcore rap. But with the explosion of political, cultural, and artistic energy of the protests a new aesthetic dynamic was born that, at least as of the time of this writing, remains quite powerful. As important, by drawing people literally closer together, the music brings them closer to its critical and transformational aura, closing a circle that was broken, according to Benjamin, with the mechanical reproduction and commodification of musi a century ago

It remains to be seen whether Americans and Europeans, so used to providing the “original” music and culture which others have long sampled, will prove as adept as the “new generation” of Arab revolutionaries in adapting the tools and ideas of others to create their own cultural, political, and economic hybrids. But if the experience of the last year is any indication, without doing so there is little chance of the current wave of protests across the West producing the kind of large-scale transformation now underway, however problematically, in the Arab world.

since 25 January last year, his channel has been able to articulate the fears of ordinary people who are not necessarily against the revolution politically, but who have been left reeling by the uncertainty it produced, or fears about the intentions of the ruling Brotherhood — albeit that the Al-Faraeen formula is a high-octane, shrill incarnation of these concerns.

Just as Mr Rohani faces opposition to his recent diplomatic overtures toward the West, his social agenda, led in part by the seemingly reform-friendly culture minister, Ali Jannati, is raising the ire of conservatives.

Farhad Fakhreddini (pictured), the founder of the national symphony orchestra, quit his job in 2009 to protest against growing interference by Mr Ahmadinejad’s government. On March 4th the 76-year-old conducted his first concert in five years, fronting the privately funded Mehrnavazan Orchestra. In the first of four sold-out concerts in Tehran, Mr Fakhreddini felt emboldened enough to perform a muscular rendition of the old national anthem from the time of the Shah. As he spun around to conduct his audience’s singing, he was met with standing ovation.

censorship is more often a matter of personal judgment than government decrees. Such was the case in January when Pallett, a fusion band that mixes folk music with jazz and Western pop influences, performed on national television. For 35 years the state broadcasting monopoly has forbidden musical instruments to be shown on TV. To circumvent the rule the band performed in pantomime, pretending to play their instruments in the air

The video quickly went viral. “We had not expected this reaction from so many people who found it controversial,” says Rouzbeh Esfandarmaz, the band’s clarinettist. “Our music is not political.”Viewers on both sides saw it differently. While some lauded what they saw as a brave political statement, the producer of the show got a rap over the knuckles for allowing such an open mockery of a state institution.

there are signs of tightened censorship in other areas

YouTube has inadvertently created a dangerous on-ramp to extremism by combining two things: a business model that rewards provocative videos with exposure and advertising dollars, and an algorithm that guides users down personalized paths meant to keep them glued to their screens

“If I’m YouTube and I want you to watch more, I’m always going to steer you toward Crazytown.”

94 percent of Americans ages 18 to 24 use YouTube, a higher percentage than for any other online service

YouTube has been a godsend for hyper-partisans on all sides. It has allowed them to bypass traditional gatekeepers and broadcast their views to mainstream audiences, and has helped once-obscure commentators build lucrative media businesses

Bellingcat, an investigative news site, analyzed messages from far-right chat rooms and found that YouTube was cited as the most frequent cause of members’ “red-pilling” — an internet slang term for converting to far-right beliefs

The internet was an escape. Mr. Cain grew up in postindustrial Appalachia and was raised by his conservative Christian grandparents. He was smart, but shy and socially awkward, and he carved out an identity during high school as a countercultural punk. He went to community college, but dropped out after three semesters. Broke and depressed, he resolved to get his act together. He began looking for help in the same place he looked for everything: YouTube.

they rallied around issues like free speech and antifeminism, portraying themselves as truth-telling rebels doing battle against humorless “social justice warriors.” Their videos felt like episodes in a long-running soap opera, with a constant stream of new heroes and villains. To Mr. Cain, all of this felt like forbidden knowledge — as if, just by watching some YouTube videos, he had been let into an exclusive club. “When I found this stuff, I felt like I was chasing uncomfortable truths,” he told me. “I felt like it was giving me power and respect and authority.”

YouTube’s executives announced that the recommendation algorithm would give more weight to watch time, rather than views. That way, creators would be encouraged to make videos that users would finish, users would be more satisfied and YouTube would be able to show them more ads.

A month after its algorithm tweak, YouTube changed its rules to allow all video creators to run ads alongside their videos and earn a portion of the revenue they generated.

Many right-wing creators already made long video essays, or posted video versions of their podcasts. Their inflammatory messages were more engaging than milder fare. And now that they could earn money from their videos, they had a financial incentive to churn out as much material as possible.

Several current and former YouTube employees, who would speak only on the condition of anonymity because they had signed confidentiality agreements, said company leaders were obsessed with increasing engagement during those years. The executives, the people said, rarely considered whether the company’s algorithms were fueling the spread of extreme and hateful political content.

Google Brain’s researchers wondered if they could keep YouTube users engaged for longer by steering them into different parts of YouTube, rather than feeding their existing interests. And they began testing a new algorithm that incorporated a different type of A.I., called reinforcement learning. The new A.I., known as Reinforce, was a kind of long-term addiction machine. It was designed to maximize users’ engagement over time by predicting which recommendations would expand their tastes and get them to watch not just one more video but many more.

YouTube’s recommendations system is not set in stone. The company makes many small changes every year, and has already introduced a version of its algorithm that is switched on after major news events to promote videos from “authoritative sources” over conspiracy theories and partisan content. This past week, the company announced that it would expand that approach, so that a person who had watched a series of conspiracy theory videos would be nudged toward videos from more authoritative news sources. It also said that a January change to its algorithm to reduce the spread of so-called “borderline” videos had resulted in significantly less traffic to those videos.

the bulk of his media diet came from far-right channels. And after the election, he began exploring a part of YouTube with a darker, more radical group of creators. These people didn’t couch their racist and anti-Semitic views in sarcastic memes, and they didn’t speak in dog whistles. One channel run by Jared Taylor, the editor of the white nationalist magazine American Renaissance, posted videos with titles like “‘Refugee’ Invasion Is European Suicide.” Others posted clips of interviews with white supremacists like Richard Spencer and David Duke.

As Mr. Molyneux promoted white nationalists, his YouTube channel kept growing. He now has more than 900,000 subscribers, and his videos have been watched nearly 300 million times. Last year, he and Ms. Southern — Mr. Cain’s “fashy bae” — went on a joint speaking tour in Australia and New Zealand, where they criticized Islam and discussed what they saw as the dangers of nonwhite immigration. In March, after a white nationalist gunman killed 50 Muslims in a pair of mosques in Christchurch, New Zealand, Mr. Molyneux and Ms. Southern distanced themselves from the violence, calling the killer a left-wing “eco-terrorist” and saying that linking the shooting to far-right speech was “utter insanity.” Neither Mr. Molyneux nor Ms. Southern replied to a request for comment. The day after my request, Mr. Molyneux uploaded a video titled “An Open Letter to Corporate Reporters,” in which he denied promoting hatred or violence and said labeling him an extremist was “just a way of slandering ideas without having to engage with the content of those ideas.”

Unlike most progressives Mr. Cain had seen take on the right, Mr. Bonnell and Ms. Wynn were funny and engaging. They spoke the native language of YouTube, and they didn’t get outraged by far-right ideas. Instead, they rolled their eyes at them, and made them seem shallow and unsophisticated.

“I noticed that right-wing people were taking these old-fashioned, knee-jerk, reactionary politics and packing them as edgy punk rock,” Ms. Wynn told me. “One of my goals was to take the excitement out of it.”

Ms. Wynn and Mr. Bonnell are part of a new group of YouTubers who are trying to build a counterweight to YouTube’s far-right flank. This group calls itself BreadTube, a reference to the left-wing anarchist Peter Kropotkin’s 1892 book, “The Conquest of Bread.” It also includes people like Oliver Thorn, a British philosopher who hosts the channel PhilosophyTube, where he posts videos about topics like transphobia, racism and Marxist economics.

The core of BreadTube’s strategy is a kind of algorithmic hijacking. By talking about many of the same topics that far-right creators do — and, in some cases, by responding directly to their videos — left-wing YouTubers are able to get their videos recommended to the same audience.

What is most surprising about Mr. Cain’s new life, on the surface, is how similar it feels to his old one. He still watches dozens of YouTube videos every day and hangs on the words of his favorite creators. It is still difficult, at times, to tell where the YouTube algorithm stops and his personality begins.

It’s possible that vulnerable young men like Mr. Cain will drift away from radical groups as they grow up and find stability elsewhere. It’s also possible that this kind of whiplash polarization is here to stay as political factions gain and lose traction online.

I’ve learned now that you can’t go to YouTube and think that you’re getting some kind of education, because you’re not.

The series revolves around how Selim I, who is trying to extend the empire he forcefully took from his father, is faced with the opposition of the people of Cairo led by the fighter-turned-leader Toman Bay as he fights to conquer Egypt.

The $40 million series caused still another tension in Turkey’s strained relations with Egypt, due to Ankara's support of the banned Muslim Brotherhood and late President Mohammed Morsi. Ankara’s ties are also tense with Saudi Arabia — whose channel broadcasts the series — over the murder of dissident journalist Jamal Khashoggi at the Saudi Consulate in Istanbul. Moreover, the launch of the series is also believed to be strategically timed, to precede another Turkish production on the Ottoman Empire and the life and times of Osman, who gave the empire his name.

ome challenged his description of the Ottomans as “occupiers” and the Mamluks as the locals, whereas the Mamluks were also an occupying force in Egypt. Faisal bin Fahad bin Jasim Al Thani, chairman of one of Qatar’s biggest conglomerates, tweeted that this sentence was “ignorance” coupled with hate. “Toman Bay and the Mamluks are Turks [not Egyptians], and the Ottomans are also Turks. So, if you consider the Ottomans to be an occupier, you need to concede that the Mamluks were, too,” he tweeted.

In recent years, there have been requests in Egypt to remove the name of this violent sultan from streets and squares in the country. The first attempt was in February 2018 when the Egyptian authorities decided to remove Selim’s name from a street in the Zeitoun neighborhood in the east of Cairo.

the government first needs to contain the spread of the left

The left, however, puts up genuine systemic resistance: They reject the idea that the Turkish nation is pure and infallible. Like leftists elsewhere, they deconstruct official history, focusing on massacres of minorities and exploitation of the working classes. There is also an inextricable tie to the Kurdish movement, which in turn is linked to the Kurdistan Workers’ Party (PKK) — an insurgency that has been waging war on the Turkish state for over four decades. The connection between the non-Kurdish left and the Kurdish movement is complicated and has gone through various stages in the recent past. For the Turkish right, there is little difference between leftist subversion and Kurdish insurrection. “I joined the police to beat up Communists” a crescent-mustached officer once told me, and he was talking about arresting Kurdish protesters.

Many in the urban middle class, who are fairly indifferent about Kurdish rights, wanted to see Demirtas grow the HDP into a Turkish-Kurdish version of the European Greens. The idea at the time was to also expand into a grand center-left coalition that would prevent Erdoğan from establishing his hyper-centralized presidential system. Their momentum was cut short when months after the coup attempt, in December 2016, the government detained Demirtas on charges of terrorism and began a ruthless crackdown on the HDP’s activities that has since only gained in intensity.

The second part of the government’s strategy is to keep the left — crippled and branded as terrorists — within the political system. While Turkey’s politics is polarized between the government and the opposition, this creates a second polarization, this time within the opposition camp. It is this second polarity where the vast majority of political discourse takes place. From the perspective of a nationalistic system of valuation, in which being “local and national” reigns supreme, this is a fatal flaw. On the one hand, the various factions of the opposition can’t win a national vote unless they partner with the HDP to form a 50 percent bloc against Erdoğan. On the other, the nationalists within the opposition cannot be seen working with the “terrorists” of the pro-Kurdish left.

the People’s Republican Party (CHP), Turkey’s founding and currently main opposition party, has tried to contain this “patriot-terrorist” polarity. Its umbrella candidates for the presidency, ranging from the soporific Ekmeleddin Ihsanoğlu in 2014, to the firebrand Muharrem Ince in 2018, have failed. In the 2019 municipal elections, however, the CHP’s mayoral candidates did well, uniting the Kemalist-nationalist camp, Islamists, liberal cosmopolitans, as well as leftists and even some sympathizers of the Kurdish movement. These candidates won against Erdoğan’s men in all major cities, including Ankara and (in a repeat election) Istanbul. This was the first, and so far only, time Erdoğan’s containment of the left had been breached.

the Erdoğan government finally seeks to pull the entire bloc to the right. This means focusing on liberal-minded urbanites whose nationalism has lapsed, and rekindling their faith in the national mythos. This is the most challenging aspect of its effort, and where it has done most poorly.

restructuring of the media. For the past few years, the government has been taking over media channels that centrist voters traditionally follow, then gradually shifting their tone to favor the government. The Dogan Media Group, owner of Hurriyet (Turkey’s former newspaper of record) and CNN Turk (a 24-hour TV news channel) used to cater to a secular, urban, and increasingly progressive audience. The group’s main audience overlapped with the centrist-opposition CHP’s voter base, whose older members are secularist-nationalists and younger members (often their children) are leftist-progressives. In March 2018, the media group was sold to an Erdoğan-friendly conglomerate, which fired many of its veteran journalists and changed editorial guidelines. The result has been a desensitized, less colorful version of the jingoist carnival running across Erdoğan’s formal channels. CNN Turk, especially, became a tool for the government to enter the living rooms of CHP voters and tell them that they were voting for terrorist collaborators. So insidious were these attacks that the CHP had to ban its members from getting on the channel, and call upon its electorate to boycott it.

 Erdoğan said “We have 18 martyrs and close to 200 wounded. In our country, we have the terror group’s so-called political organism. Aside from that, our nation is now in a state of Yekvücut.” The term is a favorite of the president. It is a combination of the Farsi term “Yek” meaning “single” and the Arabic word “vücut” meaning “existence,” or in the Turkish use, “body.” Erdoğan was thinking of the nation as a single biological organism, with the leftists and the Kurdish movement as foreign bodies

The opposition media — largely relegated to the internet — was reporting on the plight of the working class and the brewing economic crisis. Like free media across the West, they also questioned the quality and veracity of their government’s COVID-19 data. In a speech delivered in May, Erdoğan was unusually angry. He had clearly expected a Yekvücut moment and was struggling to understand why it hadn’t come about. His strategy to create a “local and national” opposition wasn’t working, and the frustration of it seemed to hit him head on. “I want to warn once again the media and other representatives who are in league with the CHP’s leaders,” he said, before launching into what was — even for him — an unusually vituperative attack: “You are not national, and your localness is in question,” he said, “you have always sided with whoever was treacherous [bozguncu], whoever was perverted, whoever was depraved” adding, “you are like the creatures in mythology that only feed on enmity, hate, fear, confusion and pain.”

The absurd accusations of fraud and coup-abetting aside, there is something to the idea that the opposition wants things to get worse. The Erdoğan government’s consolidation over the past decade has been so suffocating for opposition voters that many do look for deliverance in economic or natural disaster.

The Erdoğan government may have cut short the HDP’s rise, but it hasn’t been able to prevent leftist ideas from spreading. The CHP’s youth wings today are highly class-conscious and hostile to militant nationalism. Figures like the CHP’s Istanbul provincial head Canan Kaftancıoğlu , who campaign on a mix of feminism, workers’ rights, and anti-fascist slogans, are gaining a national following. The polarization within the opposition is likely deepening, with part of the 30 million become more “national,” while another part is becoming more leftist. This means that the great mass of right-wing sentiment is growing, but so is the left-wing minority. The “problem,” in the government’s view, may no longer be 30 million strong, but it is more acute, and perhaps more vexing, than before.

(gun ownership has soared since the 2016 coup attempt)

To Turkey’s governing class, the military coup of their imagination is not a matter of defending against an armed force trying to take over the government. Rather, it is a night of free-for-all, in which politics is stripped down to its violent core, and a majority at the height of its powers can finally put down the enemy within: the haters, the doubters, the creatures of mythology.

“Turkey will not only reach its 2023 goals [the centennial of the Republic], it will also be rid of the representatives of this diseased politics,” he said in May, hinting that he might cut the left out of the political system entirely. If this should happen, politics would be an uneven contest between Islamist, pan-Turkic, and secularist hues of Turkish nationalism. Far off, in the back streets of the big cities and in the Kurdish provinces, in second-hand bookshops and hidden corners of the internet, there would be a progressive left, weathering out what is surely going to be a violent storm.

“Audiences have loved me for many years. It was disappointing to see an international outlet label me as if all my accomplishments mean nothing. I am healthy and happy with the way I look, and to me that is all that matters,”