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Critics of the war in Libya warned that the US was siding with (and arming and empowering) violent extremists, including al-Qaida elements, that would eventually cause the US to claim it had to return to Libya to fight against them – just as its funding and arming of Saddam in Iraq and the mujahideen in Afghanistan subsequently justified new wars against those one-time allies

The falsehood told by the White House – this was just a spontaneous attack prompted by this video that we could not have anticipated and had nothing to do with – fixed all of those problems. Critical attention was thus directed to Muslims (what kind of people kill an ambassador over a film?) and away from the White House and its policies.

the number one rule of good journalism, even of good citizenship, is to remember that "all governments lie." Yet, no matter how many times we see this axiom proven true, over and over, there is still a tendency, a desire, to believe that the US government's claims are truthful and reliable.

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.

what were the Americans doing? Rumour: US diplomats were on their way to Egypt to negotiate between a future President Suleiman and opposition groups. Rumour: extra Marines were being drafted into Egypt to defend the US embassy from attack. Fact: Obama finally told Mubarak to go. Fact: a further evacuation of US families from the Marriott Hotel in Cairo, escorted by Egyptian troops and cops, heading for the airport, fleeing from a people who could so easily be their friends.

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

lower-level officials self-censor dealings with critics of the administration abroad

“The reality in which political decisions or presidential pettiness directs top U.S. diplomats’ choices over whose human rights work is mentioned in the public sphere and whose is not is a really scary reality.”

She often debunks misinformation spread online and comments on major news events related to propaganda and election interference, including Brexit and the ongoing investigation by special counsel Robert Mueller into links between the Russian government and Trump’s campaign. She has regularly tweeted criticism about Trump’s sharp political rhetoric and attacks on the press

After first being notified she would get the award, Aro filled out forms and questionnaires at the request of officials and cancelled paid speaking engagements to travel to Washington to attend the March 7 ceremony in Washington. The State Department also sent her an official invitation to accept the award and planned an itinerary for a corresponding tour of the United States, complete with flights and high-profile visits to newspapers and universities across the country.

In 2014, Aro pursued reporting on a Russian troll factory in St. Petersburg that aimed to alter western public opinions. Long before the U.S. elections in 2016, which propelled Russian disinformation campaigns to the spotlight, she unearthed evidence of a state-sanctioned propaganda machine trying to shape online discourse and spread disinformation. After she published her investigation, Russian nationalist websites and pro-Moscow outlets in Finland coordinated smear campaigns against her, accusing her at times of being a Western intelligence agent and drug dealer, and bombarding her with anonymous abusive messages. She also received death threats.

reserved the right to seek damages, due to Aro having to cancel paid speaking events

Ironically, the liquidation of Israel in The End did not bring an end to the oppression in Palestine or the Arab world in general.  Around 2090, Al-Quds conglomerate became the main site for a robocide, the genocide in which humans eliminated all robots after one of them terminated its owner. Consequently, laws were passed to ban the production of robots and the development of AI. The series merely substitutes one form of domination and apartheid for another.After the elimination of the majority of the robots, the all-powerful Energy Co. was established in Al-Quds conglomerate. The corporation employs algorithmic governance, using surveillance technology, facial recognition software and military drones to track and control citizens. Its security forces regularly attack and brutalise citizens. One form of oppression is gone, but Palestine and the Arab world do not live in liberty yet.

The most bewildering aspect about this triumphalist history of the liberation of Al-Quds conglomerate in the dystopian world of the series, is the absence of any trace of the Palestinians or Palestinian culture. The obverse side of the obliteration of Israel seems to be the erasure of the Palestinians.

The people who live in Al-Quds conglomerate speak Egyptian colloquial Arabic, and no one seems to be taking pride in their Arabic cultural heritage or Palestinian identity.

The other noticeable feature about the representation of life in Al-Quds conglomerate is its patriarchal gender politics. Women and men follow a rigid division of labour, even professional women who have careers. Radwa, the protagonist’s wife, works as the principal (agricultural) engineer at Green Co., the company responsible for providing food supplies to Al-Quds conglomerate, but she has to perform the domestic chores in the house.

the dystopian world of the series is deeply steeped in Islamic culture and traditions. If Afrofuturism, for example, is “rooted in and unapologetically celebrate[s] the uniqueness and innovation of black culture,” this series is clearly grounded in Islamofuturism.

The series illuminates and raises questions about these significant matters that have affected humanity in the last few decades. These issues include not only the polarisation of wealth and the cupola created in the global apartheid, but also neoliberal algorithmic governance, the naturalisation of AI (as both human surrogates and sex bots), the rise of megalopolis cities as corporations, renewable energy and ecological sustainability.

it is not clear where the series positions itself on the question of the state and the military.

the series itself is produced by Synergy, a mega-entertainment production house that has monopolised the Egyptian media sector and has ties to Egyptian intelligence.