Social media is a good place to get a lot of bad information. That’s not a new problem, but it’s particularly acute right now, during a war between Israel and Hamas.
I’m happy to cast the shame net widely. But I also think people complaining about inaccurate information on their platform of choice during a brutal conflict are also going to have to come to grips with a difficult reality: Getting the “right” info during a war — especially in real time or close to it, when that news is happening in a place where journalists may have limited access and are under dire threat themselves — is an inherently difficult exercise that may never get you the results you want.
Last week’s deadly explosion at a Gaza hospital is the newest data point in that argument: Hamas immediately blamed the strike on Israeli rockets, and initial reports from news outlets including the New York Times ran with that framing; Israel subsequently blamed an errant Palestinian missile launched from inside Gaza.
As I’m typing this, a week later, the consensus — at least in Western media — seems to have shifted toward the Israeli explanation. Meanwhile, the Times published an editor’s note on Monday that says its initial coverage “relied too heavily on claims by Hamas” and “left readers with an incorrect impression”; the paper’s most recent coverage of the blast doesn’t say the Israeli narrative is correct but does say that Hamas “has yet to produce or describe any evidence linking Israel to the strike.”
Israel and Hamas are at war. How did we get here? Vox offers clarity.
This isn’t a nihilistic, there-is-no-truth argument. Something caused that explosion and loss of life, and at some point, there will most likely be enough forensic evidence to establish what actually happened, with some degree of confidence.
But for the duration of this conflict, we’re going to have to live with the fact that a lot of what we first learn about what happens in a war is wrong, or misleading. We can’t primarily blame social platforms for that: It’s the very nature of the conflict itself.
In this case, it will be even harder to suss out the truth immediately after an incident, for a couple of reasons:
*Both Israel and Hamas have longstanding and deserved reputations for putting out misleadingpropaganda about their military actions.
*Journalists have very limited access to on-the-ground facts. Only a small number of them were in Gaza prior to the Oct. 7 attacks, and any reporting they undertake now is incredibly difficult and risky. Nearly two dozen of them have reportedly been killed in the first two weeks of the war. Meanwhile, the Israeli government won’t allow anyone — including journalists — to enter Gaza.
In the wake of the hospital explosion last week, we’ve seen attempts to counteract those weaknesses, with a combination of forensics and crowdsourcing: Using snippets of video and audio recorded at the time of the explosion, plus photos taken the day after the blast, researchers such as Bellingcat, a nonprofit fact-checking group, have published their own findings — which remain inconclusive.
And none of that will satisfy people who expect black-and-white answers about something that happened a week ago.
And if that’s frustrating for you, I have news you won’t like: This is likely going to get worse, for quite some time. If Israel goes forward with plans to invade Gaza, you can expect all kinds of conflicting reporting about shootings, explosions, and military and civilian casualties. And that information will be even harder to verify with tanks in the streets.
More context you won’t like: While we can blame some of this on a news environment sped up by phones and digital platforms, getting bad info about what happened in a war is a longstanding problem. And that almost always begins with the fact that most information about what happens in a war initially comes from the government fighting the wars.
That’s why, for instance, the early coverage of the death of Pat Tillman, the NFL player turned Army Ranger, at first reported he’d been killed in a 2004 ambush in Afghanistan — and not, as we eventually learned, that he’d died in a friendly fire incident. The same goes for the story of Jessica Lynch, the US soldier captured by Iraqi soldiers in 2003. Lynch later said the tale of her abduction and rescue, which received enormous attention at the time, had been distorted and exaggerated by US officials. If you want a more recent — but pre-Musk — example of how hard it is to decipher what’s happening in a war, look into the sabotage of Russia’s Nord Stream pipelines, which may or may not have been the work of Ukrainian militants.
The fog can also apply to war in places we don’t traditionally think of as war zones: While there is no shortage of reporters on the ground in Israel itself, it has still been difficult to get confirmation of exactly what happened during the October 7 attacks, leading to claims and counterclaims about specific atrocities. This week the Israeli military tried to address that by screening graphic footage of the violence for a group of reporters.
So faced with those structural obstacles that aren’t going anywhere, what can you do? One answer, counseled by Giancarlo Fiorella, Bellingcat’s director of research and training: “Slow down.”
“That’s something we’ve always been good at,” he tells me. “But in particular this past week or so, we’ve come to appreciate how that’s a skill — the ability to say, ‘Look, we’re not going to rush to publish something. Let’s take our time.’”
But I have a similarly unsatisfying suggestion: While waiting for the truth to surface in the wake of something horrible, you could spend some time … using social media.
Wait! Didn’t we just establish that the platforms are riddled with untruths?
Yes. And there’s plenty of data supporting that assertion, as well as a small group of hardworking people cataloging many of those posts that are wrong.
But it’s worth noting that not all disinformation has the same impact or ambition: Yes, Twitter and TikTok users were sharing footage of people running at Bruno Mars concert and claiming it was filmed during the Hamas attack at the Negev desert rave that killed hundreds. But that attack was real, and the mislabeled footage doesn’t change that — it was just an opportunity for people to gain social media clout.
But no matter what, you’re going to get a slew of this stuff. To help sort through it, my colleague A.W. Ohlheiser suggests using the SIFT method: “Stop, Investigate the source, Find better coverage, and Trace claims, quotes, and media to the original context.”
That may be more than what the average TikTok or Twitter user wants to do with the stuff they’re scrolling through. But since you’re deep into a story about accuracy in media, you can definitely give it a shot.
Used responsibly, and cautiously, what social media can do is open your window on the world a little bit wider. I’ve been gratified, for instance, that alongside clips from the likes of CNN and ABC News, my TikTok feed shows me excerpts from Al Jazeera and the UK’s Channel 4, which tend to be much more skeptical of Israeli claims than US news organizations. I have to caveat emptor all of that, obviously — but that has always been the responsibility of the conscientious news consumer, and I feel I’m much better off seeing how other parts of the world see the conflict. And that may be, for now, the best I can hope for. Not all of it is going to be right, but we’re not getting real-time truth right now — and in wartime, we never have.
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Most news outlets make their money through advertising or subscriptions. But when it comes to what we’re trying to do at Vox, there are a couple reasons that we can’t rely only on ads and subscriptions to keep the lights on.
First, advertising dollars go up and down with the economy. We often only know a few months out what our advertising revenue will be, which makes it hard to plan ahead.
Second, we’re not in the subscriptions business. Vox is here to help everyone understand the complex issues shaping the world — not just the people who can afford to pay for a subscription. We believe that’s an important part of building a more equal society. We can’t do that if we have a paywall.
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.”
— 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.
— 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.
— 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.
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.
Cochise County, AZ — Law enforcement officials in Arizona have apprehended Ronald Lee Syvrud, a 66-year-old resident of Cochise County, after a manhunt was launched following alleged death threats he made against former President Donald Trump. The threats reportedly surfaced in social media posts over the past two weeks, as Trump visited the US-Mexico border in Cochise County on Thursday.
Syvrud, who hails from Benson, Arizona, located about 50 miles southeast of Tucson, was captured by the Cochise County Sheriff’s Office on Thursday afternoon. The Sheriff’s Office confirmed his arrest, stating, “This subject has been taken into custody without incident.”
In addition to the alleged threats against Trump, Syvrud is wanted for multiple offences, including failure to register as a sex offender. He also faces several warrants in both Wisconsin and Arizona, including charges for driving under the influence and a felony hit-and-run.
The timing of the arrest coincided with Trump’s visit to Cochise County, where he toured the US-Mexico border. During his visit, Trump addressed the ongoing border issues and criticized his political rival, Democratic presidential nominee Kamala Harris, for what he described as lax immigration policies. When asked by reporters about the ongoing manhunt for Syvrud, Trump responded, “No, I have not heard that, but I am not that surprised and the reason is because I want to do things that are very bad for the bad guys.”
This incident marks the latest in a series of threats against political figures during the current election cycle. Just earlier this month, a 66-year-old Virginia man was arrested on suspicion of making death threats against Vice President Kamala Harris and other public officials.
