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The segment in question has been posted on the video-sharing site YouTube since its initial broadcast last month, and has been viewed hundreds of thousands of times.

For all of our talk about “the world watching”, what good did social media actually do for the people of Iran? Did the footage out of the country actually change the outcome of the elections? No. Despite a slew of YouTube videos and a couple of thousand foreign Twitter users turning their avatar green and pretending to be in Tehran, Mahmoud Ahmadinejad is still in power. It’s astonishing, really. Despite how successful ten million actual voters marching through Washington, London and other major cities in 2003 were in stopping the invasion of Iraq, a bit of entirely virtual cyber-posturing by foreigners didn’t lead to real change in Iran.

Egyptians were promised a day off during the second election day and plenty of song and dance. So heavy was the presence of paid bands and dancers, that some commentators noted that the number of those who were employed to provide an atmosphere of entertainment near polling stations outnumbered the actual voters.

a song by a popular Emirati singer Hussain al-Jesmi calling on Egyptians to vote was welcomed by the pro-military media, which also made it sure it was more than sufficiently aired

groups that boycotted the elections felt compelled to make parodies of the song using different lyrics

The video opens with bearded men traveling in a pickup truck, flying the black IS flag with its distinctive white calligraphy. The driver of the truck pulls up beside another car and honks for the other driver’s attention. The IS guy in the passenger seat leans out the window and asks him, in Hebrew with a comically exaggerated Arabic accent, “Hey bro, how do you get to Jerusalem?” The driver of the car shouts back (in Israeli Hebrew), “Take a left!” Then there’s the slogan, in red Hebrew letters emblazoned on a gray, bullet-marked background: “THE LEFT WILL SURRENDER TO TERROR.” One of the IS guys fires celebratory bullets skyward and the driver peels off, ostensibly in the direction of Jerusalem, as they all shout exultantly in Arabic, “Shukran, ya ward!” (“Thanks, bro!”). The camera pans briefly to the rear of the truck to focus on a popular Israeli bumper sticker that reads, “Anyone but Bibi.” The tagline: “It’s us, or them. Only the Likud. Only Netanyahu.” The snatch of Arabic rap lyrics is excerpted from a song by an Amman-based Palestinian group called Torabyeh: “I want to be buried in the same cemetery that my grandfather was buried in. And since my childhood I’ve been dreaming to be a soldier and as time passed I discovered who I want to belong to: Mahmoud Abbas, Fatah, Hamas or…Jabha …”

Netanyahu has for years been promoting his message about the threat to Israeli security posed by Islamic extremism, never missing an opportunity to list Hamas along with the Islamic State, Al Qaeda, Boko Haram and even Fatah, mixing them all up so that the average Israeli Jew reflexively associates Arabs and Islam with terror. Like all accomplished populists, he understands the power of repeating a mendacious slogan, and he is an expert at exploiting popular fears and racism.

The popular Israeli narrative is so reactionary and confused these days, that if one were to walk the streets asking average citizens if there was a difference between Fatah and Al Qaeda, most people would be hard-pressed to answer coherently. Go ahead and try to explain to an Israeli audience that Hamas is a small offshoot of Egypt’s Muslim Brotherhood, that it is basically a technocratic political party, that it is extremely unpopular in Gaza and that it has nothing to do with expansionist jihadism. Try telling people that if Israel would lift the siege on Gaza, disgruntled Palestinians in Gaza would probably kick Hamas out of power immediately. Just try. The best you can hope for is that you’d be told that you’re a traitor who should go live in Gaza.

 text messages buzzed between mobiles in quick succession, drawing woops of joy and thumbs up from astonished Syrians

"Perhaps the Saudis will have to build a whole village for Arab presidents once they run out of villas," joked a taxi driver

the usual babble of conversation was subdued as customers sat quietly but intently watching the TV broadcasting images of flames pouring from Egypt's ruling party's head office, a Soviet-era building much like many of those that house the state institutions in their own capital

it’s not just Kremlin-produced disinformation that Americans may have stumbled upon recently. Browsing Facebook and Twitter — and even just perusing the magazine rack at their local Walmart — they may have also been exposed to propaganda supporting the ambitious goals of two oil-rich Arab Gulf countries

when Saudi Arabia and the UAE launched a boycott and blockade of the tiny peninsula state of Qatar last year, organizations with ties to Riyadh and Abu Dhabi tried something new: They worked to sway American public opinion through online and social media campaigns, bringing a complicated, distant conflict among three Washington allies to US shores

As they took steps against Doha, Saudi Arabia and the UAE also initiated propaganda efforts in the US aimed at weakening Washington’s alliance with Qatar — which hosts the largest American military base in the Middle East — while also enhancing their own images.

Matthew Parris - South African-British columnist and former Conservative member of the British Parliament - treats us to an account of “What you learn standing on a street corner in Beirut.” The corner in question is located on Rue Qobaiyat in the trendy Mar Mikhael neighbourhood, which Parris incorrectly identifies as Beirut’s “Armenian quarter”. So much for learning things.

the role of spontaneous sociocultural analyst

To be sure, the trope of the unpredictable and irrationally violent Arab is a mainstay of Orientalist discourse, and visitors to Lebanon from the oh-so-civilised West often can’t resist the temptation to detect in every trivial occurrence a potential throwback to the brutal civil war of 1975-90 - an affair which, it bears mentioning, took place with plenty of outside interference, including from the West itself.

At a time when press freedoms are regularly described as under threat and investment in the shaky Turkish economy is no sure bet, foreign media companies could be expected to avoid the country. Instead the opposite is true. A swathe of often state-backed foreign media outlets have begun expanding their output in Turkey, with Chinese, German, Russian and Azeri companies establishing radio stations, websites, online portals and even a news channel in recent years. 

Alper Gormus, a prominent Turkish media critic, said that the Turkish public depended on outlets such as Russia's Sputnik Turkiye, the UK's BBC Turkce or Deutsche Well Turkce because trust in government-controlled media was extremely low.

“The conditions are very similar to post-coup Turkey in the 1980s in the sense that the majority of the media is supporting the government,"

An investigative journalist who published a report revealing corruption within the ministry of health in Gaza is facing up to six months in jail, said Amnesty International, ahead of her appeal hearing tomorrow. 

Hajar Harb, a Palestinian journalist from Gaza, released an investigative report on al-Araby TV  on 25 June 2016 highlighting that the ministry, which is run by the Hamas de-facto administration, was profiting by arranging illegal medical transfers out of the Gaza Strip for people who did not need treatment.

“I was cursed with bad words, threatened with physical harm and even accused of being a collaborator with Israel by spreading rumours on Facebook by some doctors in Gaza,” she told Amnesty International.

a list of admonitions to females disguised as tips to achieve domestic bliss: “When the man speaks, the women shouldn’t argue back/ She shouldn’t say ‘yes sir’ and forget the next day/ She should understand and appreciate his value if she wants to continue the relationship with him.” And this is only the first verse. Sabry continues his diatribe with suggestions regarding a women’s modesty, private and public behaviour. Perhaps sensing such instructions are abusive, he ends the track by basically telling his prospective lover to keep his indiscretions private. “The woman who keeps her house, and its secrets, she’s perfection/ And the woman who accepts her lot will see a quick correction/ But the woman who causes problems will find nothing but rejection.”

Ever since its release in July, the title track of his album has amassed more than three million views on YouTube. in addition to being a mainstay of Arabic pop stations regionwide.

“Al Ragel provoked some females because of its lyrics,” he said. “But I ask, why don’t they take this song as form of advice for them?”

Egyptian television series that aired during the peak Ramadan season this year dramatically decreased by half from previous production volumes. Production restrictions and censorship in the most populous Arab country are on the rise, tough circumstances for the entertainment industry, exacerbated by a military-linked production company’s recent monopoly of soap operas. The move also raises concerns about whether a similar fate might be in the works for the film industry.

In late 2018, a memo circulated to industry professionals by state affiliate Egyptian Media Company (EMC) laid out a set of regulations making it virtually impossible for almost any production company asides from EMC sub arm Synergy Production to produce soap operas in the 2019 Ramadan season

“We have to understand why Synergy is gaining this much control…it’s also very clear that some series [this year] have an almost didactic direction, promoting particular ideas such as improving the image of police officers. Mandating which themes are to be discussed and which won’t be is not censorship, its indoctrination,” Aly Mourad, the CEO of Al Shorouk for Media Productions, tells Open Democracy. “I don’t think we’ve heard of this level of censorship since the time of [Former President] Nasser; it’s like we are going back 60 years in time.”

For three weeks Sisi’s image has been trashed by an insider turned whistleblower whose videos from self-exile in Spain have gripped and paralysed Egypt in turn. 

Mohamed Ali is, by his own admission, no hero. One of only 10 contractors the army uses, he is corrupt. He also only left Egypt with his family and fortune because his bills had not been paid. Ali is no human rights campaigner. 

Egypt’s new folk hero likes fast cars, acting, film producing, real estate developing.

Egypt’s musician’s union has banned the popular street music mahraganat after one song was deemed too "immoral" for the Arab world's most populous country. 

mahraganat singers would no longer be allowed to work in Egypt, and would be denied licences to perform anywhere in the country

Mahraganat, Arabic for "festivals", is a style of electronic folk music that originally started out in some of Egypt’s most impoverished districts and quickly gained prominence, with artists amassing millions of views on YouTube and SoundCloud.  The style of music, which can be described as "electro shaabi" (popular working-class music) is typically played in taxis, tuktuks and more recently, weddings. 

Reporters Without Borders (RSF) is worried about the way Egyptian media outlets are being taken over by businessmen linked to the government and intelligence services. The regime’s domination of the media continues to grow and is even affecting pro-government media.

Al Hayat was quietly taken over at the end of August. The new owner’s identity has not yet been officially announced but several Egyptian media outlets have reported that it was acquired by Falcon, a successful Egyptian security company whose CEO is a former senior military intelligence officer and a former head of the radio and TV regulatory agency.

the financial pressure came shortly after Al Wafd’s representatives in parliament expressed their opposition to the government’s controversial plan to hand over two strategic islands, Tiran and Sanafir, to Saudi Arabia

Turkish series, including shows about Ottoman sagas, have enticed audiences in the Middle East and beyond for the last decade. Particularly “The Magnificent Century,” a hundred-episode series of love and intrigue at the Palace of Suleiman the Magnificent, created a strong audience in the first half of the 2010

“Kingdoms of Fire” ("Mamlakaat al-Nar") tackles the struggle between the Mamluks and the Ottomans over the control of the Middle East, particularly in Syria and Egypt. Produced by the Emirati production company Genomedia, it is shown both on Saudi channel MBC and Netflix. However, it is not being streamed in Turkey.

The historical drama revolves around two central figures: Sultan Selim I, the Ottoman ruler (r. 1512-1520) known as Selim the Grim, who is played by young Syrian actor Mahmoud Nasr. Toman Bay, the Mamluk sultan, is played by Khaled Nabawy, an Egyptian actor known for his leads in historical drama ever since his discovery by award-winning director Youssef Chahine in 1994.