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.
About 10 years ago, after I’d graduated college but when I was still waitressing full-time, I attended an empowerment seminar. It was the kind of nebulous weekend-long event sold as helping people discover their dreams and unburden themselves from past trauma through honesty exercises and the encouragement to “be present.” But there was one moment I’ve never forgotten. The group leader, a man in his 40s, asked anyone in the room of 200 or so people who’d been sexually or physically abused to raise their hands. Six or seven hands tentatively went up. The leader instructed us to close our eyes, and asked the question again. Then he told us to open our eyes. Almost every hand in the room was raised.
And there could be far-reaching consequences for the national economy too.
Four floors above a dull cinder-block lobby in a nondescript building at the Ohio State University, the doors of a slow-moving elevator open on an unexpectedly futuristic 10,000-square-foot laboratory bristling with technology. It’s a reveal reminiscent of a James Bond movie. In fact, the researchers who run this year-old, $750,000 lab at OSU’s Spine Research Institute resort often to Hollywood comparisons.
Thin beams of blue light shoot from 36 of the same kind of infrared motion cameras used to create lifelike characters for films like Avatar. In this case, the researchers are studying the movements of a volunteer fitted with sensors that track his skeleton and muscles as he bends and lifts. Among other things, they say, their work could lead to the kind of robotic exoskeletons imagined in the movie Aliens.
Four decades ago Jimmy Carter was sworn in as the 39th president of the U.S., the original Star Wars movie was released in theaters, and much more.
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More comfortable online than out partying, post-Millennials are safer, physically, than adolescents have ever been. But they’re on the brink of a mental-health crisis.
One day last summer, around noon, I called Athena, a 13-year-old who lives in Houston, Texas. She answered her phone—she’s had an iPhone since she was 11—sounding as if she’d just woken up. We chatted about her favorite songs and TV shows, and I asked her what she likes to do with her friends. “We go to the mall,” she said. “Do your parents drop you off?,” I asked, recalling my own middle-school days, in the 1980s, when I’d enjoy a few parent-free hours shopping with my friends. “No—I go with my family,” she replied. “We’ll go with my mom and brothers and walk a little behind them. I just have to tell my mom where we’re going. I have to check in every hour or every 30 minutes.”
Those mall trips are infrequent—about once a month. More often, Athena and her friends spend time together on their phones, unchaperoned. Unlike the teens of my generation, who might have spent an evening tying up the family landline with gossip, they talk on Snapchat, the smartphone app that allows users to send pictures and videos that quickly disappear. They make sure to keep up their Snapstreaks, which show how many days in a row they have Snapchatted with each other. Sometimes they save screenshots of particularly ridiculous pictures of friends. “It’s good blackmail,” Athena said. (Because she’s a minor, I’m not using her real name.) She told me she’d spent most of the summer hanging out alone in her room with her phone. That’s just the way her generation is, she said. “We didn’t have a choice to know any life without iPads or iPhones. I think we like our phones more than we like actual people.”
In the media world, as in so many other realms, there is a sharp discontinuity in the timeline: before the 2016 election, and after.
Things we thought we understood—narratives, data, software, news events—have had to be reinterpreted in light of Donald Trump’s surprising win as well as the continuing questions about the role that misinformation and disinformation played in his election.
Tech journalists covering Facebook had a duty to cover what was happening before, during, and after the election. Reporters tried to see past their often liberal political orientations and the unprecedented actions of Donald Trump to see how 2016 was playing out on the internet. Every component of the chaotic digital campaign has been reported on, here at The Atlantic, and elsewhere: Facebook’s enormous distribution power for political information, rapacious partisanship reinforced by distinct media information spheres, the increasing scourge of “viral” hoaxes and other kinds of misinformation that could propagate through those networks, and the Russian information ops agency.
The foundation of Donald Trump’s presidency is the negation of Barack Obama’s legacy.
It is insufficient to statethe obvious of Donald Trump: that he is a white man who would not be president were it not for this fact. With one immediate exception, Trump’s predecessors made their way to high office through the passive power of whiteness—that bloody heirloom which cannot ensure mastery of all events but can conjure a tailwind for most of them. Land theft and human plunder cleared the grounds for Trump’s forefathers and barred others from it. Once upon the field, these men became soldiers, statesmen, and scholars; held court in Paris; presided at Princeton; advanced into the Wilderness and then into the White House. Their individual triumphs made this exclusive party seem above America’s founding sins, and it was forgotten that the former was in fact bound to the latter, that all their victories had transpired on cleared grounds. No such elegant detachment can be attributed to Donald Trump—a president who, more than any other, has made the awful inheritance explicit.
For the first time, astronomers have detected visible light and gravitational waves from the same source, ushering in a new era in our attempt to understand the cosmos.
In September of 2015, astronomers detected, for the first time, gravitational waves, cosmic ripples that distort the very fabric of space and time. They came from a violent merger of two black holes somewhere in the universe, more than a billion light-years away from Earth. Astronomers observed the phenomenon again in December, and then again in November 2016, and then again in August of this year. The discoveries confirmed a century-old prediction by Albert Einstein, earned a Nobel prize, and ushered in a new field of astronomy.
But while astronomers could observe the effects of the waves in the sensitive instruments built to detect them, they couldn’t see the source. Black holes, as their name suggests, don’t emit any light. To directly observe the origin of gravitational waves, astronomers needed a different kind of collision to send the ripples Earth’s way. This summer, they finally got it.
How a seemingly innocuous phrase became a metonym for the skewed sexual politics of show business
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The casting couch—where, as the story goes, aspiring actresses had to trade sexual favors in order to win roles—has been a familiar image in Hollywood since the advent of the studio system in the 1920s and ’30s. Over time, the phrase has become emblematic of the way that sexual aggression has been normalized in an industry dominated by powerful men.
The president managed to cause a brief firestorm by falsely accusing predecessors of neglecting slain soldiers, but real answers about why four men were killed are still elusive.
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A driver, a transportation official, and a transit advocate explain why Seattle recently saw one of the biggest citywide increases in passenger numbers.
Almost every major U.S. city has seen years of decline in bus ridership, but Seattle has been the exception in recent years. Between 2010 and 2014, Seattle experienced the biggest jump of any major U.S. city. At its peak in 2015, around 78,000 people, or about one in five Seattle workers, rode the bus to work.
That trend has cooled slightly since then, but Seattle continues to see increased overall transit ridership, bucking the national trend of decline. In 2016, Seattle saw transit ridership increase by 4.1 percent—only Houston and Milwaukee saw even half that increase in the same year.
Bus service is crucial to reducing emissions in the Seattle region. According to King County Metro, which serves the region, nearly half of all greenhouse gas emissions in Washington state come from transportation and its operation displaces roughly four times as many emissions as it generates, by taking cars off the road and reducing traffic congestion. The public transit authority has been recognized for its commitment to sustainability and its bus fleet is projected to be 100 percent hybrid or electric by 2018.