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Western media failures say more about the West than Gaza

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It has been more than two weeks now since another war in Gaza started. More than 6,500 Palestinians have been killed by relentless Israeli bombardment and 1,400 Israelis died in the attack by the armed Palestinian resistance group Hamas on southern Israel.

Watching the media coverage of these events, I have been struck by the stark difference between how the killing of civilians has been covered on both sides.

Many Western media outlets insist on highlighting the immorality of killing and brutalising Israeli civilians, as Hamas has undoubtedly done, while soft-pedalling the immorality of the Israeli military’s indiscriminate killing of Palestinian civilians by carpet bombing the Gaza Strip.

In one remarkable interview on BBC Newsnight, when Husam Zomlot, the Head of the Palestinian Mission to the UK, said that seven members of his family had been killed by Israeli bombs, the reaction of his interviewer was to offer perfunctory condolences and immediately proclaim that “you cannot condone the killing of civilians in Israel”.

Zomlot had not offered his personal tragedy as justification for Hamas atrocities but as an answer to a direct question about what happened to them. Yet having done so, he now found himself being asked to condemn, not those who murdered them, but those who killed others.

It is worth noting that in all the interviews I watched of Israelis who had similarly lost loved ones, I have not come across a single one where the victims have been asked whether they condoned the actions of their government or disavowed the labelling of Palestinians by the Israeli defence minister, Yoav Gallant, as “human animals”. None have been asked to condemn what some are controversially describing as an unfolding genocide and the expulsion of civilians in Gaza.

“We are preconditioned not to see Palestinian humanity because colonialism, white supremacy, and Islamophobia are still the dominant lens through which states, institutions, people, and media in the West view the world (although geopolitical interests are, of course, also at play),” editorialises The New Humanitarian, contrasting the glorification of Ukrainian resistance to the Russian invasion with the delegitimisation of Palestinian struggle against invasion, dispossession and ethnic cleansing.

Few outlets have bothered to ask how over two million people came to be packed into a tiny strip or discuss the 16-year blockade that has turned the territory into what is widely acknowledged as an open-air prison.

These inadequacies and distortions in the media coverage of the war in Gaza reflect a reality that is often obfuscated by claims of “journalistic objectivity”. The truth is, journalists’ discretion over what is fit to publish has never been absolute; it has always been circumscribed by the values and culture of the society in which they operate.

The late American media ethicist, John Calhoun Merrill, asserted that “a nation’s journalism cannot exceed the limits permitted by the society; on the other hand, it cannot lag very far behind”.

Recognising how culture interacts with journalism is the key to understanding these biases, many of which are rooted in history. What we are seeing in the coverage of the war in Gaza is, in the first instance, a demonstration of the largely unacknowledged societal limits imposed on journalism.

There is obvious censorship. Opinions that humanise Palestinians or that deviate from the official line of unconditional support for Israel have been suppressed. There have been clampdowns on protests and expressions of solidarity with the Palestinians, threats to arrest people for flying the Palestinian flag, and attempts by Big Tech companies to remove or shadow-ban pro-Palestinian content.

A report by Al Jazeera’s Listening Post programme suggested that editors in US newsrooms were discouraging any attempts to provide background context to the Hamas attacks as that would be unpalatable to audiences.

However, censorship is not a sufficient explanation. As Merrill said, the journalism “cannot lag very far behind” the society. Journalism ethics and the moral principles and values that inform them do not belong to journalists alone. Rather they are reflections of society-wide expectations from the media.

In essence, the reporting on Israel and Gaza tells us more about the journalists themselves and the cultures they spring from, than about the events in the region.

Historically, anti-Semitism and Islamophobia have been a well-documented feature of Western cultural thought. Jews were once racialised and othered in much the same way Muslims are today, routinely subjected to pogroms. In the aftermath of the horrors of the Holocaust, however, anti-Semitism was widely denounced in Western culture as unacceptable and abhorrent.

By contrast, anti-Arab and Islamophobic sentiments in the West were never censured in the same way. Over the past few decades, they have been further fuelled by the US-led “war on terror”, which Israel has used to frame its own conflict with the Palestinians.

In this context, it is not surprising that many Westerners seem to believe that acknowledging the humanity of Jews has to go hand-in-hand with the dehumanisation of those coded as Muslims or Arabs (the categories are almost always conflated in the Western imagination).

The insistence on Israel’s “right” to defend itself even in the face of undeniable atrocities that date back to its establishment reflects the Western perception that Arab civilian deaths are an acceptable price for Israeli security and peace of mind.

By contrast, even an attempt to mention the context in which Israeli civilian deaths occurred is considered an outrageous move – as the UN Secretary-General Antonio Guterres himself has recently discovered.

Western media reports reflect this awful cultural calculus – the one-sided demand for condemnation, the individualisation and humanisation of the Israeli tragedy are juxtaposed next to the representation of Palestinian tragedy in passive language and as suffered by undifferentiated masses.

The calculus is also apparent in the imagery of death. Social media and TV reports are inundated with graphic images of Palestinian dead but relatively few images of dead Israelis. Words and descriptions such as “beheaded babies” are presumed sufficient to articulate the horror of Israeli death. The horror of Palestinian death, however, needs to be established with gory imagery.

Audiences are constantly reminded that Hamas has been designated a terrorist organisation by Western governments, but not that human rights groups and the UN have described Israel as an apartheid regime.

Criticism of Israeli actions, or even the attempt to humanise their victims, are coded as expressions of anti-Semitism, which carries a far heavier cultural penalty than anti-Arab sentiment.

That said, it is important to keep in mind that culture is itself a collectivising and muddy concept and it should not be assumed that cultural concepts are held or accepted by everyone who identifies as part of the culture.

The huge demonstrations in support of Palestinians that are happening in Europe and North America are an example of this. The point though is that culture does influence media attitudes, ethics and framing as well as limits on what journalists can do.

Media practitioners need to take cognisance of the facts and rethink ethics and professional practices forged in days when journalists reported the news largely to audiences who looked like and thought like them.

Today, when news reports are instantly broadcast around the world, cultural blindspots can manifest as unethical practices, including as justification for genocide and ethnic cleansing. They should listen to and take seriously the repeated complaints about their reporting and framing. That requires a degree of self-awareness that sadly, many have so far failed to demonstrate.

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Sutherland House Experts Book Publishing Launches To Empower Quiet Experts

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Sutherland House Experts is Empowering Quiet Experts through
Compelling Nonfiction in a Changing Ideas Landscape

TORONTO, ON — Almost one year after its launch, Sutherland House Experts is reshaping the publishing industry with its innovative co-publishing model for “quiet experts.” This approach, where expert authors share both costs and profits with the publisher, is bridging the gap between expertise and public discourse. Helping to drive this transformation is Neil Seeman, a renowned author, educator, and entrepreneur.

“The book publishing world is evolving rapidly,” publisher Neil Seeman explains. “There’s a growing hunger for expert voices in public dialogue, but traditional channels often fall short. Sutherland House Experts provides a platform for ‘quiet experts’ to share their knowledge with the broader book-reading audience.”

The company’s roster boasts respected thought leaders whose books are already gaining major traction:

• V. Kumar Murty, a world-renowned mathematician, and past Fields Institute director, just published “The Science of Human Possibilities” under the new press. The book has been declared a 2024 “must-read” by The Next Big Ideas Club and is receiving widespread media attention across North America.

• Eldon Sprickerhoff, co-founder of cybersecurity firm eSentire, is seeing strong pre-orders for his upcoming book, “Committed: Startup Survival Tips and Uncommon Sense for First-Time Tech Founders.”

• Dr. Tony Sanfilippo, a respected cardiologist and professor of medicine at Queen’s University, is generating significant media interest with his forthcoming book, “The Doctors We Need: Imagining a New Path for Physician Recruitment, Training, and Support.”

Seeman, whose recent and acclaimed book, “Accelerated Minds,” explores the entrepreneurial mindset, brings a unique perspective to publishing. His experience as a Senior Fellow at the University of Toronto’s Institute of Health Policy, Management and Evaluation, and academic affiliations with The Fields Institute and Massey College, give him deep insight into the challenges faced by people he calls “quiet experts.”

“Our goal is to empower quiet, expert authors to become entrepreneurs of actionable ideas the world needs to hear,” Seeman states. “We are blending scholarly insight with market savvy to create accessible, impactful narratives for a global readership. Quiet experts are people with decades of experience in one or more fields who seek to translate their insights into compelling non-fiction for the world,” says Seeman.

This fall, Seeman is taking his insights to the classroom. He will teach the new course, “The Writer as Entrepreneur,” at the University of Toronto, offering aspiring authors practical tools to navigate the evolving book publishing landscape. To enroll in this new weekly night course starting Tuesday, October 1st, visit:
https://learn.utoronto.ca/programs-courses/courses/4121-writer-entrepreneur

“The entrepreneurial ideas industry is changing rapidly,” Seeman notes. “Authors need new skills to thrive in this dynamic environment. My course and our publishing model provide those tools.”

About Neil Seeman:
Neil Seeman is co-founder and publisher of Sutherland House Experts, an author, educator, entrepreneur, and mental health advocate. He holds appointments at the University of Toronto, The Fields Institute, and Massey College. His work spans entrepreneurship, public health, and innovative publishing models.

Follow Neil Seeman:
https://www.neilseeman.com/
https://www.linkedin.com/in/seeman/

Follow Sutherland House Experts:

https://sutherlandhouseexperts.com/
https://www.instagram.com/sutherlandhouseexperts/

Media Inquiries:
Sasha Stoltz | Sasha@sashastoltzpublicity.com | 416.579.4804
https://www.sashastoltzpublicity.com

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What to stream this weekend: ‘Civil War,’ Snow Patrol, ‘How to Die Alone,’ ‘Tulsa King’ and ‘Uglies’

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Hallmark launching a streaming service with two new original series, and Bill Skarsgård out for revenge in “Boy Kills World” are some of the new television, films, music and games headed to a device near you.

Also among the streaming offerings worth your time as selected by The Associated Press’ entertainment journalists: Alex Garland’s “Civil War” starring Kirsten Dunst, Natasha Rothwell’s heartfelt comedy for Hulu called “How to Die Alone” and Sylvester Stallone’s second season of “Tulsa King” debuts.

NEW MOVIES TO STREAM SEPT. 9-15

Alex Garland’s “Civil War” is finally making its debut on MAX on Friday. The film stars Kirsten Dunst as a veteran photojournalist covering a violent war that’s divided America; She reluctantly allows an aspiring photographer, played by Cailee Spaeny, to tag along as she, an editor (Stephen McKinley Henderson) and a reporter (Wagner Moura) make the dangerous journey to Washington, D.C., to interview the president (Nick Offerman), a blustery, rising despot who has given himself a third term, taken to attacking his citizens and shut himself off from the press. In my review, I called it a bellowing and haunting experience; Smart and thought-provoking with great performances. It’s well worth a watch.

— Joey King stars in Netflix’s adaptation of Scott Westerfeld’s “Uglies,” about a future society in which everyone is required to have beautifying cosmetic surgery at age 16. Streaming on Friday, McG directed the film, in which King’s character inadvertently finds herself in the midst of an uprising against the status quo. “Outer Banks” star Chase Stokes plays King’s best friend.

— Bill Skarsgård is out for revenge against the woman (Famke Janssen) who killed his family in “Boy Kills World,” coming to Hulu on Friday. Moritz Mohr directed the ultra-violent film, of which Variety critic Owen Gleiberman wrote: “It’s a depraved vision, yet I got caught up in its kick-ass revenge-horror pizzazz, its disreputable commitment to what it was doing.”

AP Film Writer Lindsey Bahr

NEW MUSIC TO STREAM SEPT. 9-15

— The year was 2006. Snow Patrol, the Northern Irish-Scottish alternative rock band, released an album, “Eyes Open,” producing the biggest hit of their career: “Chasing Cars.” A lot has happened in the time since — three, soon to be four quality full-length albums, to be exact. On Friday, the band will release “The Forest Is the Path,” their first new album in seven years. Anthemic pop-rock is the name of the game across songs of love and loss, like “All,”“The Beginning” and “This Is the Sound Of Your Voice.”

— For fans of raucous guitar music, Jordan Peele’s 2022 sci-fi thriller, “NOPE,” provided a surprising, if tiny, thrill. One of the leads, Emerald “Em” Haywood portrayed by Keke Palmer, rocks a Jesus Lizard shirt. (Also featured through the film: Rage Against the Machine, Wipers, Mr Bungle, Butthole Surfers and Earth band shirts.) The Austin noise rock band are a less than obvious pick, having been signed to the legendary Touch and Go Records and having stopped releasing new albums in 1998. That changes on Friday the 13th, when “Rack” arrives. And for those curious: The Jesus Lizard’s intensity never went away.

AP Music Writer Maria Sherman

NEW SHOWS TO STREAM SEPT. 9-15

— Hallmark launched a streaming service called Hallmark+ on Tuesday with two new original series, the scripted drama “The Chicken Sisters” and unscripted series “Celebrations with Lacey Chabert.” If you’re a Hallmark holiday movies fan, you know Chabert. She’s starred in more than 30 of their films and many are holiday themed. Off camera, Chabert has a passion for throwing parties and entertaining. In “Celebrations,” deserving people are surprised with a bash in their honor — planned with Chabert’s help. “The Chicken Sisters” stars Schuyler Fisk, Wendie Malick and Lea Thompson in a show about employees at rival chicken restaurants in a small town. The eight-episode series is based on a novel of the same name.

Natasha Rothwell of “Insecure” and “The White Lotus” fame created and stars in a new heartfelt comedy for Hulu called “How to Die Alone.” She plays Mel, a broke, go-along-to-get-along, single, airport employee who, after a near-death experience, makes the conscious decision to take risks and pursue her dreams. Rothwell has been working on the series for the past eight years and described it to The AP as “the most vulnerable piece of art I’ve ever put into the world.” Like Mel, Rothwell had to learn to bet on herself to make the show she wanted to make. “In the Venn diagram of me and Mel, there’s significant overlap,” said Rothwell. It premieres Friday on Hulu.

— Shailene Woodley, DeWanda Wise and Betty Gilpin star in a new drama for Starz called “Three Women,” about entrepreneur Sloane, homemaker Lina and student Maggie who are each stepping into their power and making life-changing decisions. They’re interviewed by a writer named Gia (Woodley.) The series is based on a 2019 best-selling book of the same name by Lisa Taddeo. “Three Women” premieres Friday on Starz.

— Sylvester Stallone’s second season of “Tulsa King” debuts Sunday on Paramount+. Stallone plays Dwight Manfredi, a mafia boss who was recently released from prison after serving 25 years. He’s sent to Tulsa to set up a new crime syndicate. The series is created by Taylor Sheridan of “Yellowstone” fame.

Alicia Rancilio

NEW VIDEO GAMES TO PLAY

— One thing about the title of Focus Entertainment’s Warhammer 40,000: Space Marine 2 — you know exactly what you’re in for. You are Demetrian Titus, a genetically enhanced brute sent into battle against the Tyranids, an insectoid species with an insatiable craving for human flesh. You have a rocket-powered suit of armor and an arsenal of ridiculous weapons like the “Chainsword,” the “Thunderhammer” and the “Melta Rifle,” so what could go wrong? Besides the squishy single-player mode, there are cooperative missions and six-vs.-six free-for-alls. You can suit up now on PlayStation 5, Xbox X/S or PC.

— Likewise, Wild Bastards isn’t exactly the kind of title that’s going to attract fans of, say, Animal Crossing. It’s another sci-fi shooter, but the protagonists are a gang of 13 varmints — aliens and androids included — who are on the run from the law. Each outlaw has a distinctive set of weapons and special powers: Sarge, for example, is a robot with horse genes, while Billy the Squid is … well, you get the idea. Australian studio Blue Manchu developed the 2019 cult hit Void Bastards, and this Wild-West-in-space spinoff has the same snarky humor and vibrant, neon-drenched cartoon look. Saddle up on PlayStation 5, Xbox X/S, Nintendo Switch or PC.

Lou Kesten

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Trump could cash out his DJT stock within weeks. Here’s what happens if he sells

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Former President Donald Trump is on the brink of a significant financial decision that could have far-reaching implications for both his personal wealth and the future of his fledgling social media company, Trump Media & Technology Group (TMTG). As the lockup period on his shares in TMTG, which owns Truth Social, nears its end, Trump could soon be free to sell his substantial stake in the company. However, the potential payday, which makes up a large portion of his net worth, comes with considerable risks for Trump and his supporters.

Trump’s stake in TMTG comprises nearly 59% of the company, amounting to 114,750,000 shares. As of now, this holding is valued at approximately $2.6 billion. These shares are currently under a lockup agreement, a common feature of initial public offerings (IPOs), designed to prevent company insiders from immediately selling their shares and potentially destabilizing the stock. The lockup, which began after TMTG’s merger with a special purpose acquisition company (SPAC), is set to expire on September 25, though it could end earlier if certain conditions are met.

Should Trump decide to sell his shares after the lockup expires, the market could respond in unpredictable ways. The sale of a substantial number of shares by a major stakeholder like Trump could flood the market, potentially driving down the stock price. Daniel Bradley, a finance professor at the University of South Florida, suggests that the market might react negatively to such a large sale, particularly if there aren’t enough buyers to absorb the supply. This could lead to a sharp decline in the stock’s value, impacting both Trump’s personal wealth and the company’s market standing.

Moreover, Trump’s involvement in Truth Social has been a key driver of investor interest. The platform, marketed as a free speech alternative to mainstream social media, has attracted a loyal user base largely due to Trump’s presence. If Trump were to sell his stake, it might signal a lack of confidence in the company, potentially shaking investor confidence and further depressing the stock price.

Trump’s decision is also influenced by his ongoing legal battles, which have already cost him over $100 million in legal fees. Selling his shares could provide a significant financial boost, helping him cover these mounting expenses. However, this move could also have political ramifications, especially as he continues his bid for the Republican nomination in the 2024 presidential race.

Trump Media’s success is closely tied to Trump’s political fortunes. The company’s stock has shown volatility in response to developments in the presidential race, with Trump’s chances of winning having a direct impact on the stock’s value. If Trump sells his stake, it could be interpreted as a lack of confidence in his own political future, potentially undermining both his campaign and the company’s prospects.

Truth Social, the flagship product of TMTG, has faced challenges in generating traffic and advertising revenue, especially compared to established social media giants like X (formerly Twitter) and Facebook. Despite this, the company’s valuation has remained high, fueled by investor speculation on Trump’s political future. If Trump remains in the race and manages to secure the presidency, the value of his shares could increase. Conversely, any missteps on the campaign trail could have the opposite effect, further destabilizing the stock.

As the lockup period comes to an end, Trump faces a critical decision that could shape the future of both his personal finances and Truth Social. Whether he chooses to hold onto his shares or cash out, the outcome will likely have significant consequences for the company, its investors, and Trump’s political aspirations.

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