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.
They weren’t the first victims of a mass shooting the Florida radiologist had seen—but their wounds were radically different.
As I opened the CT scan last week to read the next case, I was baffled. The history simply read “gunshot wound.” I have been a radiologist in one of the busiest trauma centers in the nation for 13 years, and have diagnosed thousands of handgun injuries to the brain, lung, liver, spleen, bowel, and other vital organs. I thought that I knew all that I needed to know about gunshot wounds, but the specific pattern of injury on my computer screen was one that I had seen only once before.
In a typical handgun injury that I diagnose almost daily, a bullet leaves a laceration through an organ like the liver. To a radiologist, it appears as a linear, thin, grey bullet track through the organ. There may be bleeding and some bullet fragments.
The document, drafted by minority members of the House Intelligence Committee, sought to rebut claims that the bureau abused its power during the election.
The Republican charge that the FBI misled a secret surveillance court in order to spy on a former Trump campaign operative seemed to unravel on Saturday, when Democrats on the House Intelligence Committee revealed the exact wording that the bureau used when applying for the order in October 2016.
In a memo drafted by the intelligence committee’s Republicans in January and promptly declassified by the White House, the majority claimed that the FBI had misleadingly obscured the origins of a dossier written by former British intelligence officer Christopher Steele, some of whose research on Trump campaign adviser Carter Page was included in the bureau’s application for a warrant to surveil him. “Neither the initial application in October 2016, nor any of the renewals, disclose or reference the role of the DNC, Clinton campaign, or any party/campaign in funding Steele's efforts, even though the political origins of the Steele dossier were then known to senior FBI officials,” the Republicans’ memo alleged.
Decades before he ran the Trump campaign, Paul Manafort’s pursuit of foreign cash and shady deals laid the groundwork for the corruption of Washington.
The clinic permitted Paul Manafort one 10-minute call each day. And each day, he would use it to ring his wife from Arizona, his voice often soaked in tears. “Apparently he sobs daily,” his daughter Andrea, then 29, texted a friend. During the spring of 2015, Manafort’s life had tipped into a deep trough. A few months earlier, he had intimated to his other daughter, Jessica, that suicide was a possibility. He would “be gone forever,” she texted Andrea.
His work, the source of the status he cherished, had taken a devastating turn. For nearly a decade, he had counted primarily on a single client, albeit an exceedingly lucrative one. He’d been the chief political strategist to the man who became the president of Ukraine, Viktor Yanukovych, with whom he’d developed a highly personal relationship.
For the past decade, Rick Gates was fiercely loyal to his risk-taking boss. Not anymore.
There should be no denying Paul Manafort’s fate. Special Counsel Robert Mueller’s list of charges keeps on swelling—a repeatedly amended compendium of malfeasance that is now so long and so pointillistic that it could be only defused by a world-historic prosecutorial gaffe. Despite this seeming comprehensiveness, each fresh filing in court contains a moment where the special prosecutor winks at his target, as if letting him know that he has only begun to bring the pain: a small display of how comprehensively he has surveilled Manafort and his minions; a further sampling of the evidence that could be sitting in his reserve stash.
Everyone understands Manafort’s fate, except apparently the man himself. Rather than cutting a deal—as his longtime deputy Rick Gates did yesterday—Manafort continues to cut a figure of defiance. He has, in essence, dismissed Gates as a weakling. And even as the bedraggled Gates turned against him, Manafort boasted in a statement that he would not be knocked from his stance: “This does not alter my commitment to defend myself against the untrue piled up charges contained in the indictments against me."
Many seniors are stuck with lives of never-ending work—a fate that could befall millions in the coming decades.
CORONA, Calif.—Roberta Gordon never thought she’d still be alive at age 76. She definitely didn’t think she’d still be working. But every Saturday, she goes down to the local grocery store and hands out samples, earning $50 a day, because she needs the money.
“I’m a working woman again,” she told me, in the common room of the senior apartment complex where she now lives, here in California’s Inland Empire. Gordon has worked dozens of odd jobs throughout her life—as a house cleaner, a home health aide, a telemarketer, a librarian, a fundraiser—but at many times in her life, she didn’t have a steady job that paid into Social Security. She didn’t receive a pension. And she definitely wasn’t making enough to put aside money for retirement.
By “camouflaging” their condition, many women on the spectrum learn to fit in—and risk psychological harm.
Except for her family and closest friends, no one in Jennifer’s various circles knows that she is on the spectrum. Jennifer was not diagnosed with autism until she was 45 years old—and then only because she wanted confirmation of what she had figured out for herself over the previous decade. Most of her life, she says, she evaded a diagnosis by forcing herself to stop doing things her parents and others found strange or unacceptable. (Because of the stigma associated with autism, Jennifer asked to be identified only by her first name.)
Over several weeks of emailing back and forth, Jennifer confides in me some of the tricks she uses to mask her autism—for example, staring at the spot between someone’s eyes instead of into their eyes, which makes her uncomfortable. But when we speak for the first time over video chat one Friday afternoon in January, I cannot pick up on any of these ploys.
What’s the mail like from those who reject the need for new gun laws? Here are two samples. The first is — unfortunately, but realistically—representative in its tone and argumentative style of most of the dissenting messages that have arrived:
The sisters turned domestic constraints into grist for brilliant books.
No body of writing has engendered more other bodies of writing than the Bible, but the Brontë corpus comes alarmingly close. “Since 1857, when Elizabeth Gaskell published her famous Life of Charlotte Brontë, hardly a year has gone by without some form of biographical material on the Brontës appearing—from articles in newspapers to full-length lives, from images on tea towels to plays, films, and novelizations,” wrote Lucasta Miller in The Brontë Myth, her 2001 history of Brontëmania. This year the Brontë literary-industrial complex celebrates the bicentennial of Charlotte’s birth, and British and American publishers have been especially busy. In the U.S., there is a new Charlotte Brontë biography by Claire Harman; a Brontë-themed literary detective novel; a novelistic riff on Jane Eyre whose heroine is a serial killer; a collection of short stories inspired by that novel’s famous line*, “Reader, I married him”; and a fan-fiction-style “autobiography” of Nelly Dean, the servant-narrator of Wuthering Heights. Last year’s highlights included a young-adult novelization of Emily’s adolescence and a book of insightful essays called The Brontë Cabinet: Three Lives in Nine Objects, which uses items belonging to Charlotte, Emily, and Anne as wormholes to the 19th century and the lost texture of their existence. Don’t ask me to list the monographs.
The revolutionary ideals of Black Panther’s profound and complex villain have been twisted into a desire for hegemony.
The following article contains major spoilers.
Black Panther is a love letter to people of African descent all over the world. Its actors, its costume design, its music, and countless other facets of the film are drawn from all over the continent and its diaspora, in a science-fiction celebration of the imaginary country of Wakanda, a high-tech utopia that is a fictive manifestation of African potential unfettered by slavery and colonialism.
But it is first and foremost an African American love letter, and as such it is consumed with The Void, the psychic and cultural wound caused by the Trans-Atlantic slave trade, the loss of life, culture, language, and history that could never be restored. It is the attempt to penetrate The Void that brought us Alex Haley’s Roots, that draws thousands of African Americans across the ocean to visit West Africa every year, that left me crumpled on the rocks outside the Door of No Return at Gorée Island’s slave house as I stared out over a horizon that my ancestors might have traversed once and forever. Because all they have was lost to The Void, I can never know who they were, and neither can anyone else.
American teens are shaping a new kind of debate about gun violence—but why now?
The aftermath of a mass shooting in the United States can feel like an all-too-familiar play.
Act I: Some combination of grief and shock and terror ripples across the nation, accompanied by a deluge of news coverage.
Act II: Gun-control advocates leverage the moment to call for stricter laws; those who oppose such restrictions offer their thoughts and prayers to victims but argue that gun control won’t help.
Act III: the inevitable deadlock. America moves on; America forgets. Nothing changes, except for those for whom everything has changed. Public opinion on gun control remains as divided as ever.
That play is following a different script this time around. The curtain has stayed up on Act II, as survivors of what is now the deadliest high-school shooting in modern U.S. history have prevented the play from proceeding along its typical trajectory. “We call B.S.!” chanted Emma González—a Marjory Stoneman Douglas High School senior whose face has since become a symbol for this exploding youth-led political campaign—at a rally last Saturday. Since then, the Parkland, Florida, teens’ tweets, essays, and television appearances—equal parts fierce determination and fervent agony—have been the public-facing cry of what they have dubbed the “Never Again” movement.