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there has been pressure for a long time now to block Turkish programmes that often take up prime time slots from both Lebanese and Egyptian producers and filmmakers

Before the recent - and most likely politically motivated if not sponsored - spate of Turkish Ottoman history-based dramas, Turkish television programming was still a major hit in the Arab world

To many Middle Eastern viewers, drawn-out Turkish soap operas combining love affairs, drama and mystery more than just being quality television productions represented hope that it was possible to harmoniously merge east and west without sacrificing local identity

depiction of a lifestyle choice that is not an option in the Gulf

“Producers and TV/film firms have their costs covered before they commence filming via the deals they make with domestic broadcasters,” he said.“Other than that Turkish television has never been more popular. It has a market in eastern Europe, Africa and even Latin America.”

“There are so many dimensions to this ban. Another one is that Bin Salman has also launched a big drive on restoring historical places in the kingdom. But with their own Saudi interpretation," Hayek said."And then you have these Turkish historical-based programmes being beamed into peoples’ homes who are very keen to learn about their past and heritage. They can’t be happy about that”.

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.

Some 600 student members of the Basij, a militia run by the powerful Revolutionary Guard, recently wrote a letter to the president. Warning Mr Rohani not to let his declared agenda of “moderation” be infiltrated by reformists, the students demanded strict supervision of the arts, cinema and press to avoid “any kind of secularist tolerance.”

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

“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

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.

When comparing the size of this negative association with other predictors of cognitive decline, watching television for >3.5 hours a day had a greater sized negative association (standardised beta = −0.034) than being in the lowest wealth quintile (as compared with the median quintile: standardised beta −0.027), while watching television for >7 hours a day had a greater sized association (standardized beta = −0.048) as being in the highest wealth quintile (compared with the median quintile: standardised beta = 0.043) or having no educational qualifications (standardized beta = −0.058).

associations between television viewing and verbal memory remained even when considering a range of variables relating to sedentary behaviours, suggesting that it is not just the sedentary nature of television watching that is responsible for its relationship with cognition.

Television involves fast-paced changes in images, sounds and action and, unlike other screen-based activities such as internet use and gaming, television is the most passive way of receiving such stimuli

television leads to a more alert but less focused brain

In addition to any potential cognitive stress created through the alert-passive interaction while watching television, the content of the programme itself can be stressful, such as through the depiction of graphic scenes, violence or the creation of suspense. Analyses of UK television from 2001–2013 (covering the country and much of the period of the data collection for the study reported here) have shown between 2.1 and 11.5 violent scenes per hour in UK soap operas, with 40% of these being categorised as moderate or strong violence22. It has even been proposed that the vividness of such experiences is greater than real-world experiences of events such as violence, conflict or disasters, as the drama is enhanced for entertainment purposes23. Chronic stress is known to lead to increased levels of glucocorticoids, which can have a direct effect on the hippocampus due to the presence of glucocorticoid receptors in that region of the brain. Consequently, stress has been shown to lead to atrophy of the hippocampus and impaired neurogenesis24, alongside impairments in cognition25.

excessive television could be linked with verbal memory through displacing other, cognitively beneficial activities such as playing board games, reading and engaging with cultural activities11,26. This theory implies that the relationship between television viewing and memory is not entirely down to television having negative effects per se, but rather television reducing the amount of time that people spend on more activities that could contribute to cognitive preservation

This study is not suggesting that watching television in older adulthood confers no benefits. Indeed, research with adults has suggested that TV dramas in comparison with TV documentaries can increase performance in tests of theory of mind, suggesting that television can enhance understanding of others27. Educational television can be an efficient way of learning when programmes are designed appropriately28. Television has also been shown to be a form of escapism from difficult life circumstances29. Further, research investing the effects of television viewing in the context of people’s daily lives has found that adults routinely report television as a means of relaxing30 (although this should be considered in relation to the potentially stress-inducing effects of television viewing discussed earlier). Nevertheless, this study suggests that watching substantial amounts of television is longitudinally associated with poorer verbal memory in older adults.

it remains unclear whether television viewing might affect other components of executive function