Terry Jones, the Florida Koran-burner, is helping to promote a movie vilifying Egypt's Muslims, and the Egyptian media got ahold of some clips.
Right now, protesters in Cairo are gathered at the U.S. embassy compound, where some have scaled the walls and pulled down the American flag, with which they've replaced a black flag bearing the prayer "There is no god but Allah and Mohammed is his messenger." They say they're protesting an American film that insults Prophet Mohammed. About half an hour in, someone took a photo that appears to show some of the protesters, of which Reuters estimates there to be 2,000, setting off celebratory fireworks.
The movie is called Innocence of Muslims, although some Egyptian media have reported its title as Mohammed Nabi al-Muslimin, or Mohammed, Prophet of the Muslims. If you've never heard of it, that's because most of the few clips circulating online are dubbed in Arabic. The above clip, which is allegedly from the film (update: Kurt Werthmuller, a Coptic specialist at the Hudson Institute, says he's confirmed the clip's authenticity) is one of the only in English.* That's also because it's associated with Florida Pastor Terry Jones (yes, the asshole who burnt the Koran despite Defense Secretary Robert M. Gates' pleas) and two Egyptians living in the U.S., according to Egyptian press accounts.* The Egyptians are allegedly Coptic, the Christian minority that makes up about a tenth of Egypt.
Obviously, there's a lot to this story that's still unclear. What we do know is that some members of Egypt's sometimes-raucous, often rumor-heavy media have been playing highly offensive clips from the highly offensive film, stressing its U.S. and Coptic connections. In the clip below, controversial TV host Sheikh Khaled Abdallah (known for such statements as "Iran is more dangerous to us than the Jews" and that Tehran had engineered a deadly soccer riot in Port Said) hypes the film as an American-Coptic plot and introduces what he says is its opening scene.
As the fervor has built, both the Coptic Church and the U.S. embassy to Egypt issued formal condemnations of the film. The latter, made just this morning, began, "The Embassy of the United States in Cairo condemns the continuing efforts by misguided individuals to hurt the religious feelings of Muslims." The statement also noted the September 11 anniversary, adding, "Respect for religious beliefs is a cornerstone of American democracy."
What exactly does the film say? It's still not clear, but it appears to compare Mohammed to a donkey and Muslims, according to one translation, to "child-lovers." The New York Times' Liam Stack, offering some offhand translations of the scene shown above, called it a "doozy." The man in the scene says of his donkey, "This is the first Muslim animal." He asks the donkey if it likes girls; when it doesn't answer, he bursts into laughter and says, "He doesn't like girls," according to Stack. Other scenes in the above clip seem to portray Muslim Egyptian characters, who for some reason all have strong New York accents, as immoral and violent, particularly toward the Christians whom they pursue with near-genocidal fervor. A number of Islam's founding figures, including the prophet, are accused of homosexuality and child molestation.
The movie, like Terry Jones himself and his earlier Koran-burning stunt, have received attention far beyond their reach, which would be modest if not for obsessively outraged media. And yet, here the movie is, not just offending apparently significant numbers of people, but producing real-world damage. That damage is apparently limited to one American flag (CNN at one point reported that it had been torn, rumors continue to circulate that it was burned) and presumably the evenings of the U.S. embassy staff, but the U.S.-Egypt relationship is tense enough, and Muslim-Coptic mistrust has already produced scant but horrifying violence against the Christian minority. That doesn't mean this incident will become anything more than a bizarre moment of cross-cultural misunderstanding (the protesters seem to assume that, as in Egypt, movies must secure the state's approval), but that it could go so far is yet another reminder of the tensions just beneath the surface in Egypt.
* Correction: This sentence originally credited Terry Jones with producing the film, as some Egyptian media had suggested. In fact, as the Wall Street Journalnow reports, Jones is playing a promotional role, but the film was in fact directed and produced by "an Israeli-American California real-estate developer who called it a political effort to call attention to the hypocrisies of Islam." Separately, members of a Libyan Islamist extremist group called Ansar al-Sharia attacked the U.S. consulate in Benghazi, Libya, over the film, firing at the building with a rocket-propelled grenade.
To many white Trump voters, the problem wasn’t her economic stance, but the larger vision—a multi-ethnic social democracy—that it was a part of.
Perhaps the clearest takeaway from the November election for many liberals is that Hillary Clinton lost because she ignored the working class.
In the days after her shocking loss, Democrats complained that Clinton had no jobs agenda. A widely shared essay in The Nationblamed Clinton's "neoliberalism" for abandoning the voters who swung the election. “I come from the white working class,” Bernie Sanders said on CBS This Morning, “and I am deeply humiliated that the Democratic Party cannot talk to where I came from.”
But here is the troubling reality for civically minded liberals looking to justify their preferred strategies: Hillary Clinton talked about the working class, middle class jobs, and the dignity of work constantly. And she still lost.
The HBO drama’s finale hinted at a dark, meta message.
This post contains spoilers for the season finale of Westworld.
In 2013, a widely cited study published in Science suggested that reading literature increases a person ability to understand other peoples’ emotions. In 2016, another study seemed to debunk it, finding the original study’s results irreplicable and its resulting media coverage way too broad. “Reading Literature Won’t Give You Superpowers,” went The Atlantic’s headline from last week about the reversal.
It might seem laughable in the first place for anyone to think literature bestows superpowers. But that’s actually one of the more abiding beliefs of popular culture, and the question of whether stories improve the soul and mind—and better humanity more broadly—remains eternally in dispute. It’s a question that HBO’s Westworld has riffed on for 10 episodes, with the popular drama’s finale last night suggesting a cynical take on the social value of storytelling.
Trump's election has reopened questions that have long seemed settled in America—including the acceptability of open discrimination against minority groups.
When Stephen Bannon called his website, Breitbart, the “platform for the alt-right” this summer, he was referring to a movement that promotes white nationalism and argues that the strength of the United States is tied to its ethnic European roots. Its members mostly stick to trolling online, but much of what they do isn’t original or new: Their taunts often involve vicious anti-Semitism. They make it clear that Jews are not included in their vision of a perfect, white, ethno-state.
On the opposite side of American politics, many progressive groups are preparing to mount a rebellion against Donald Trump. They see solidarity among racial minorities as their goal, and largely blame Trump’s election on racism and white supremacy. Three-quarters of American Jews voted against Trump, and many support this progressive vision. Some members of these groups, though, have singled out particular Jews for their collusion with oppressive power—criticisms which range from inflammatory condemnations of Israel to full-on conspiracies about global Jewish media and banking cabals.
The past 12 months have been an eventful time for news stories, from the unpredictable and tumultuous U.S. presidential election, to continued war and terror and refugees fleeing to Europe, to a historic World Series win for the Chicago Cubs, and so much more.
The past 12 months have been an eventful time for news stories, from the unpredictable and tumultuous U.S. presidential election, to continued war and terror in the Middle East and refugees fleeing to Europe, to a historic World Series win for the Chicago Cubs, ongoing protests demanding racial justice in the U.S., the Summer Olympics and Paralympics in Rio de Janeiro, and so much more. Today, we present the “Top 25 News Photos of 2016”—and starting tomorrow will be presenting part one of a more comprehensive three-part series, “2016: The Year in Photos.” Warning, some of the photos may contain graphic or objectionable content.
A professor of cognitive science argues that the world is nothing like the one we experience through our senses.
As we go about our daily lives, we tend to assume that our perceptions—sights, sounds, textures, tastes—are an accurate portrayal of the real world. Sure, when we stop and think about it—or when we find ourselves fooled by a perceptual illusion—we realize with a jolt that what we perceive is never the world directly, but rather our brain’s best guess at what that world is like, a kind of internal simulation of an external reality. Still, we bank on the fact that our simulation is a reasonably decent one. If it wasn’t, wouldn’t evolution have weeded us out by now? The true reality might be forever beyond our reach, but surely our senses give us at least an inkling of what it’s really like.
SNL parodied the president-elect’s impulsive tweeting last weekend, and he responded by tweeting about it.
Saturday Night Live has been on television for nearly 42 years, and in that time, it has mocked seven presidents, with an eighth, Donald Trump, now firmly in its sights. The show’s satire is essentially part of the political scenery; at best, a president might knowingly reference it as a sign of self-awareness. Chevy Chase, in his portrayal of Gerald Ford, mocked the president as clumsy and accident-prone. President Ford did not respond by publicly demonstrating his grace and poise, obeying the old maxim about not protesting too much.
Playing Trump on last weekend’s show, Alec Baldwin mocked the president-elect’s impulse control in a sketch that saw him retweeting random high-school students during a national security briefing. The real Trump was not pleased. “Just tried watching Saturday Night Live - unwatchable! Totally biased, not funny and the Baldwin impersonation just can’t get any worse. Sad,” he tweeted at 12:13 a.m., about halfway through the episode. The irony couldn’t have been more plain: In response to a sketch mocking his propensity for impulsive tweeting, the president-elect ... impulsively tweeted about it. Satire in the age of Trump has already been difficult for Saturday Night Live, but it seems increasingly caught in a feedback loop: Any ridiculous heightening of his behavior is doomed to instant irrelevance by Trump’s reaction to it.
The island once had a seat on the UN Security Council. Now a simple phone call with its leader is international news.
Richard Nixon excelled at stating the obvious. On his historic first trip to China in February of 1972, he visited the Great Wall, marveling at its vast length and age. “I think that you would have to conclude that this is a great wall,” he remarked. But when dealing with a country as complex as China, Nixonian plainspeak was not always a bad thing. In a private conversation in June 1971 with Walter P. McConaughy, the U.S. ambassador to Taiwan, Nixon said that the United States needed to prepare Taiwan’s leaders for the eventual shock that would accompany Washington’s improved ties with Beijing. At the time, Washington had full diplomatic relations with Taiwan, but not China; the small island nation was still one of the five permanent members of the United Nations Security Council (UNSC). In the eyes of the world, Taiwan’s strongman leader Chiang Kai-Shek was the legitimate ruler of China. But Taiwan, Nixon said, must know that Washington is engaging with Beijing, “not because we love them. But because they’re there.” China, he implied in his circuitous yet blunt way, was just too big to ignore anymore. More importantly, it had been a mistake to ignore China.
Confronting racism can be crucial, even when it’s not persuasive.
In the brushfire wars since Donald Trump won the presidency, skirmishes over how to speak to his coalition of voters have consumed liberals. Leading the vanguard in those conversations is a collection of writers and thinkers of otherwise divergent views, united by the painful process of reexamining identity politics, social norms, and—most urgently—how to address racism in an election clearly influenced by it. Though earnest and perhaps necessary, their emphasis on the civil persuasion of denizens of "middle America" effectively coddles white people. It mistakes civility for the only suitable tool of discourse, and persuasion as its only end.
This exploration of how to best win over white Americans to the liberal project is exemplified by reactions to Hillary Clinton’s placing many of Donald Trump’s supporters in a “basket of deplorables.” The debate about whether to classify these voters as racist or bigoted for supporting a candidate who constantly evinced views and policies many believe to be bigoted is still raging. As Dara Lind at Vox expertly notes, Clinton’s comments themselves were inartful precisely because they seemed focused solely on “overt” manifestations of racism, like Klan hoods and slurs. That focus ignores the ways in which white supremacy and patriarchy can function as systems of oppression, tends to forgive the more refined and subtle racism of elites, and may ultimately lead to a definition of racism in which no one is actually racist and yet discrimination remains ubiquitous.
Firefighters have now found 36 bodies inside the artist collective where dozens of people lived together.
Rescue workers say 36 people were killed in Oakland, California, in a fire that torched an artist-collective warehouse known locally as the “Ghost Ship.” It may take weeks to identify everyone killed, because the flames have charred some bodies so badly they’ll have to be identified through dental records. The Alameda County Sheriff’s Office has also opened a criminal investigation into what caused the fire. So far, it’s thought to have been an accident—the result of too many people in a place with rampant building-code violations. But already some of the artistic community’s frustration seems aimed at both the warehouse’s artistic leader as well as the Bay Area’s unaffordable rent.
The fire started Friday during a late-night rave being held at the warehouse, home to a couple dozen artists. The blaze grew so quickly that flames and smoke trapped many of the people inside, and forced some to leap out of the second-floor windows. Since firefighters extinguished the flames early Saturday morning, rescue workers have methodically removed bits of ash and debris, putting them in dump trucks to be taken to an offsite location, where they can be sorted and checked in case they contain human remains. It is one of the worst U.S. fires in recent memory, bringing to mind the 2003 blaze in West Warwick, Rhode Island, that killed 100 people at a nightclub called the Station.
What it means, what the law says, and what comes next
Updated on December 5 at 12:50 p.m. ET
Surely some of the protesters believed they would prevail, but among the experts—the law professors, financial analysts, and industry journalists who pride themselves on knowing the ins and outs of federal rules—almost no one expected it. The so-called experts were getting ready to shake their heads and sigh, to lament that once again a federal agency had failed to respond to a historic protest and had failed to protect the most vulnerable.
And then the incredible happened.
On Sunday afternoon, the U.S. Army Corps of Engineers legally blocked the construction of the Dakota Access Pipeline, denying it a needed easement to drill beneath the Missouri River.
The corps will now investigate and write an environmental-impact statement, a roughly two-year process that will assess the risks of building a pipeline so close to the Standing Rock Sioux’s water supply. It will specifically examine whether the pipeline should be moved or cancelled altogether.