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broadcast across the Arab world

One prominently displayed image is that of a man burning an American flag. Another shows graves covered with Iraqi flags

audio recordings of Saddam making speeches and reciting poetry. Patriotic songs urge listeners to "liberate our country." None of the pictures appear to be recent, and no announcers or commentators appear or speak.

In a telephone interview Sunday from Damascus, Jarboua said he is Algerian and that the Saddam Channel is based in Europe but refused to say where, citing safety concerns for its employees.

Ziad Khassawneh, a Jordanian Baathist who once headed Saddam's defense team, said wealthy Iraqis living in Lebanon, Syria and other Arab countries are funding the channel. He declined to give names.

A Mideast satellite expert said al-Lafeta's operators tried to hide any clues to their identities and broadcast sites by using a variety of satellite services and frequencies. The channel airs via Noorsat, a Bahrain-based satellite service. It also has purchased a frequency on Egypt-owned NileSat, which is run by Eutelsat, a European consortium.

Gen. al-Khayanin told the AP that his country's goal was simpler: "To make sure the Libyan people are not being killed. You cannot go halfway — and we are ready to go as long as it takes.""I have nothing against Gadhafi ... as long as he protects his own people," said al-Khayanin. "Removing Gadhafi is an internal issue, but at least the fighting has to stop."

One officer who did give his name, 2nd Lt. Naveed Ashraf, a Pakistani technical adviser for the Qatari Air Force, insisted that Islam, the main religion in Qatar and Libya, shouldn't be part of the equation — but Gadhafi's onslaught against his own people should be."This is not about Muslims possibly killing other Muslims," Ashraf said. "No religion tolerates this brutality ... Nobody has the right to do what he is doing."

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.

Reporter Zeynep Karatas said she was shocked when her story about police brutality during Women's Day demonstrations was replaced with an article about the inauguration of a new steel bridge.

Zaman’s circulation numbers fell from 600,000 to 18. This has been a bittersweet victory for Edib, who views the boycott by readers as a show of solidarity and passive resistance. Yet the newspaper he loves is being strangled before his eyes.Employees wonder why they are putting together a newspaper that is never going to print and is expected to be read by only 18 people. In spite of this, many of them are refusing to abandon ship.

Zaman's journalists are working under heavy police surveillance.“There must be at least 30 to 40 policemen inside our headquarters in Istanbul who are playing 'editor',”

 “I was giving an interview to a Singapore-based TV channel in a public park next to the building and a policeman approached me, took my name and told his superiors I was talking to foreign media,”

On Thursday, the new administration deleted the paper's digital archives, removing thousands of articles, including those of Haaretz reporter Louis Fishman.

"It is out of the question for either me or any of my colleagues to interfere in this process," Turkish Prime Minister Ahmet Davutoglu said.Edib disagrees. He said the deletion of Zaman’s archives was a political move to damage the paper's legacy and remove all traces of critical opinion from its records. “Every day there has been a new Zaman on the shelves, but I feel no part in it, nor do any of my colleagues, since we have nothing to do with the editorial line, story choice or layout,” he said.Those were his last words before our telephone conversation was interrupted by a police officer.

According to Aykan Erdemir, a former member of Turkish Parliament now serving as a senior fellow at the Washington-based Foundation for Defense of Democracies, the evolution of Erdogan's “disciplinary technologies” paints a startling picture of media control in Turkey.

“Erdogan's control over the media cannot be explained just by the fight between him and Fethullah Gulen. This is a bigger issue,” Gul said. He has concerns about how far Erdogan might go in order to silence opposition in the run-up to a referendum on the presidential system.  “Voices, that express discomfort (regarding Erdogan's presidential model), even within his own party, are being smeared and silenced.”

In this climate, Aykan said he wouldn’t be surprised if the remaining independent media outlets begin to “willingly” promote the virtues of Erdogan’s executive presidential system.

he feels a lack of solidarity from Turkish journalists and the international community

Two days after the newspaper takeover, the Turkish government was greeted in Brussels with billions in aid and renewed prospects of joining the EU for their help in resolving Europe’s migrant crisis, which critics say indicates the relative weakness of the EU's negotiating power.Edib and Akarcesme said they felt disappointed, if not betrayed, by the EU appeasing Turkey in exchange for cooperation in curbing Syrian refugees. Brussels is only validating Erdogan's image, power and popularity at home, they said.

it seems like certain sources, namely academics, are a bit less likely to talk lately, which, if true, means the government has successfully accomplished its goal of silencing some of its most credible critics. More generally, the political situation has gotten much, much worse, and most of my Turkish and Kurdish friends have either been further radicalized or have simply given up and withdrawn from politics and following the news. There's a great feeling of helplessness. It's an exciting life for a journalist, but it's also just incredibly sad and often seemingly hopeless

Her mother was subsequently arrested and charged with spreading false news; her two lawyers, including the head of the Egyptian Coordination for Rights and Freedoms, were forcibly disappeared.

Eissa is no stranger to controversy. Before El-Daif, he caused a stir with his first screenplay, for Mawlana (Our Grand Sheikh), about modern Muslim televangelists as well as the relationship between religion and the state.

"El-Daif has very well depicted taboos never discussed before in Egyptian cinema, showing how Islam is misinterpreted as a religion that forces a woman to cover herself from head to toe," said Nagwa Ali, 40, an accountant, as she was leaving a Cairo cinema.

other critics say the film is long-winded and static, although praising it for tackling taboo subjects otherwise ignored in Egyptian cinema

In the film, Yahia faces blasphemy charges due to his views about his interpretation of Islam and its teachings that have appeared in his books and articles. His life is at risk, which leads the government to assign policemen to protect him and his family against extremists. Ironically, the fierce debates and controversy portrayed in El-Daif are mirrored in real-life arguments around the film, leading to calls for it to be banned.

it also angered Islamic scholars, including Khalid El-Gindi, a prominent preacher and member of the Supreme Council for Islamic Affairs. "Six religious institutions including Al-Azhar [the highest Islamic authority in Egypt and the region] have stipulated that hijab is a heavenly order. Nevertheless, Eissa comes with his film to simply try to convince people otherwise," El-Gindi said angrily in a telephone interview with TV host Sayed Ali broadcast on Egyptian Al-Hadath Al-Youm satellite channel.

El Gindi also upbraided the Egyptian censorship authority which, although it took a few months to approve the film, surprisingly did not cut any scenes.

El-Daif avoids the stereotypical image of a religious fanatic, introducing a handsome light-bearded young man dressed in an elegant outfit who comes from a well-bred family and who has studied engineering in the USA.  He has managed to influence the intellectual's daughter to the extent that she agrees to wear the hijab despite her liberal upbringing. Many women in Egypt wear the hijab for social rather than religious reasons, submitting to social and family pressures while also seeking to avoid sexual harassment. However, the attire does not protect women from unwanted attention and abuse, as women who have spoken to MEE confirm.

Egyptian feminists and liberal thinkers have their own explanation of the hijab as being often associated with the rise of the conservative Saudi Wahhabi doctrine that emerged in Egyptian society in the mid-1970s.

In the first six weeks of screening, El Daif took around seven million Egyptian pounds (about $400,000) and remained in third place at the Egyptian box office. It is still showing at most Egyptian cinemas. "Deals are underway to screen the film in a number of Arab and European countries," said an official at the film's production company, iProduction.

the biggest discovery of this year’s edition from the Middle East could very well be Sudan, the new Arab cinema on the block making its major international festival debut with two documentaries by first-time filmmakers: Marwa Zein’s Forum contender, Khartoum Offside; and Suhaib Gasmelbari’s Panorama pick, Talking About Trees.

Iran has had a modest presence during the recent past at Berlin – and this year is no different, with only a single feature representing the once powerhouse cinema across all sections. Deviating from the country’s signature social realism, newcomer Suzan Iravanian is attracting buzz for her Forum curio, Leakage, a supernatural mystery about a fifty-something middle-class woman who starts leaking oil from her body after her husband disappears.

Mostafa Derkaoui’s forgotten 1974 classic, About Some Meaningless Event, a docudrama about a group of filmmakers asking passersby in Casablanca about their expectations for Moroccan cinema, only to shift their focus to a resentful worker who accidentally kills his superior.  An investigation of the role of cinema and art in society, this militant effort - which was primarily funded by the sale of paintings of a number of contemporary painters – was banned in Morocco and virtually disappeared, until a negative print was discovered in the Spanish film archive, Filmoteca de Catalunya, in 2016 and subsequently restored.

Foreign news coverage has been taking a hit for decades. According to a 2014 Pew report, American newspapers even then had cut their international reporting staff by 24 percent in less than a decade. Network news coverage of stories with a foreign dateline averaged 500 minutes per year in 2016, compared to an average 1,500 minutes in 1988, according to a study by Tyndall. “Clearly it’s harder for international stories to end up on front pages now,” says Ben Pauker, who served as the executive editor of Foreign Policy for seven years until the end of 2017. He is now a managing editor at Vox. From his own experience, Pauker says, it’s simply an issue of editorial bandwidth. “There’s only so much content an editorial team can process.”

In October 2017, Sulome thought she had landed the story of her career. The US had just announced a $7 million reward for a Hezbollah operative believed to be scouting locations for terror attacks on American soil—something it had never done before. Having interviewed Hezbollah fighters for the last six years, Sulome had unique access to the upper echelons of its militants, including that specific operative’s family members. Over the course of her reporting, Hezbollah members told her they had contingency plans to strike government and military targets on US soil and that they had surface-to-air missiles, which had not been reported before. Convinced she had struck gold, she was elated when the piece was commissioned by a dream publication she’d never written for before. But days later, that publication rescinded its decision, saying that Sulome had done too much of the reporting before she was commissioned. Sulome was in shock. She went on to pitch the story to eight other publications, and no one was interested.

I’ll go back to the Middle East on trips if I find someone who wants a story, but I’m not going to live there and do this full-time, because it’s really taking a toll on me

According to Nathalie Applewhite, managing director of the Pulitzer Center on Crisis Reporting, the lack of international coverage has become a real problem for Pulitzer grant recipients. Those grants, she says, were established to address the earlier crisis in which news organizations were closing foreign bureaus and could no longer fund big foreign reporting projects. “Now we’re seeing an even bigger challenge,” she says. “We’re providing the monetary support, but the problem is finding the space for it.” Grant applicants, Applewhite adds, are finding it harder to get commitments from editors to publish their work upon completion of their reporting. And stories that already have commitments are sitting on the shelf much longer, as they are continuously postponed for breaking Trump news.

As the daughter of two former Middle East-based journalists, Sulome knows what it used to be like for people like her. “I grew up surrounded by foreign correspondents, and it was a very different time. There was a healthy foreign press, and most of them were staff. The Chicago Tribune had a Beirut bureau for example. So when people say we’re in a golden age of journalism today, I’m like, Really?”

The divestment from foreign news coverage, she believes, has forced journalists to risk their lives to tell stories they feel are important. Now, some publications are refusing to commission stories in which the reporter already took the risk of doing the reporting on spec. Believing that this will discourage freelancers from putting their lives in danger, this policy adds to the problem more than it solves it.

“When people lose sight of what’s going on around the world, we allow our government to make foreign policy decisions that don’t benefit us. It makes it so much easier for them to do that when we don’t have the facts. Like if we don’t know that the crisis in Yemen is killing and starving so many people and making Yemenis more extremist, how will people know not to support a policy in which we are attacking Yemenis?”

“Whether it’s environmental, ethnic or religious conflict, these are issues that may seem far away, but if we ignore them they can have a very real impact on us at home. International security issues, global health scares, and environmental crises know no borders, and I think we ignore them at our own peril.”

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.

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.

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.

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.

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 subject came out of something I lived through, growing up in a war. Something that my co-screenwriter Joelle also lived through. It’s not like we read a book or based it on a TV interview on CNN. It’s something that we lived through, all the dynamics that you saw in the film, we are very familiar with it. You know, the Palestinian point of view, the Christian point of view. These are things that are so familiar to us. You know it’s this thing that we grew up eating and drinking and living. We were stopped at checkpoints, we hid under the bombs, we lived in shelters in Beirut in the 70s and the 80s and the 90s

We could have been such a lighthouse in the midst of all these other places around because we’re so interesting. Lebanon so interesting. But it’s sad that it does not fully use its potential. You know Christians, Muslims, Shiites, Sunni, liberal, it has all the potential of making a very, very interesting place

I had a lot of prejudice towards the Christians growing up. Like incredible. My parents were very left wing pro-Palestinian. And anybody from the Christian camp, from East Beirut, was considered a traitor, the enemy. And then you meet people from East Beirut, Christians, who were part of the Christian camp, and then you sit down and they work on your movie and and then you go have a drink and then you suddenly say, “Their story’s like mine, they suffered as much as [me].”

“The Insult” is about reexamining the other side. The woman who co-wrote the film with me who became my wife — we wrote four films together — she comes from the Christian camp. I come from [Muslim] West Beirut. She wrote all the scenes of the Palestinian. And I wrote the scenes of the Christians. We swapped.

every screening we do in the states, in Los Angeles in Telluride, in Toronto people were like so emotional about it. And then they said, “We totally identified because of what’s going on in the States today. We are living in America at a period where it feels like this entire society is tearing apart a bit.” And they look at the film and suddenly it’s speaking to them, even though that was not the intention.

Sometimes the country needs to go through a tear in order to heal better.