New York Times podcast ‘Caliphate’ faces backlash over ethics

New York Times podcast ‘Caliphate’ faces backlash over ethics
In ‘Caliphate,’ which debuted in April, New York Times investigative journalist Rukmini Callimachi asks of the war of terror, ‘Who is it that we’re really fighting?’ The result is a gripping foray into the world of Daesh recruitment, butchery, and murder. (Screenshot: NYT Trailer of Caliphate)
Updated 05 June 2018

New York Times podcast ‘Caliphate’ faces backlash over ethics

New York Times podcast ‘Caliphate’ faces backlash over ethics
  • The paper’s mini-series follows the story of a Canadian Daesh returnee — dubbed Abu Huzaifa Al-Kanadi — and is The New York Times’ first foray into a new style of journalism.
  • “Caliphate” follows in the footsteps of smash series such as “Serial” and “S-Town,” investigative journalism spinoffs from the hugely influential “This American Life” podcast.

LONDON: Across the world, millions of listeners are eagerly awaiting their next fix of “Caliphate,” the debut narrative documentary podcast from The New York Times.
The paper’s mini-series follows the story of a Canadian Daesh returnee — dubbed Abu Huzaifa Al-Kanadi — and is The New York Times’ first foray into a new style of journalism.
“Caliphate” follows in the footsteps of smash series such as “Serial” and “S-Town,” investigative journalism spinoffs from the hugely influential “This American Life” podcast.
“Serial,” launched in 2014, has been downloaded more than 250 million times, while S-Town, which debuted last year, was downloaded more than 10 million times in the first four days of its release — setting a new record in the podcasting world.
In “Caliphate,” which debuted in April, New York Times investigative journalist Rukmini Callimachi (right) asks of the war of terror, “Who is it that we’re really fighting?” The result is a gripping foray into the world of Daesh recruitment, butchery, and murder.
Despite the show’s gory public appeal, the podcast’s success has provoked a backlash in Canada.
While he was reportedly questioned by the Canadian Security and Intelligence Services, Abu Huzaifa has not been charged with any crimes.
There were angry questions in the Canadian House of Commons last month, when Conservative House leader Candice Bergen asked the Trudeau government why Abu Huzaifa is freely being allowed to live in Canada.
“This guy is apparently in Toronto. Canadians deserve more answers from this government,” Bergen said. “Why aren’t they doing something about this despicable animal that’s walking around the country? This individual is speaking freely to the media.”
This rise in the popularity of shows such as “Caliphate” and “Serial” has highlighted an overlap between the practices of investigative journalism, law enforcement and public policy. Experts also warn of blurring the line between narrative fiction and reality, and of drawing the wrong kind of attention to historical crimes.
Scott Lucas, professor of politics at the University of Birmingham, said he has a “double-edged view” of podcasts such as “Caliphate.”
“I can admire this type of journalism, particularly when it brings new light and gets a retrial for the convicted or gets the case squashed. This can be a mark of great journalism,” Lucas told Arab News.
However, the professor said podcasts must be careful not to elevate crimes for the sake of entertainment.
“When you sensationalize it, you run into problems. ‘Caliphate’ doesn’t do that but it’s something that they need to be aware of.”
Lucas added that journalists have a duty “to tell the full story” and not lose sight of the wider causes of the phenomenon that is Daesh.
“(‘Caliphate’) mentions the beheading of (US journalist) James Foley with only a quick reference … sometimes when we stare at Daesh like this, the context is lost. The NYT should take the story as wide as possible,” he said.
Despite Callimachi potentially uncovering vital Daesh intelligence, Lucas insisted “a journalist must just carry out a journalist’s job, which is only to find information.” He explained: “A journalist is not there to carry out the provision of law enforcement. It’s up to the law enforcers to investigate criminals.
“While ‘Caliphate’ is talking about a phenomenon that is confusing and unsettling, in my opinion that line is still clear-cut between law enforcement and journalism.”
In one podcast, Abu Huzaifa confessed murder to Callimachi but later rescinded his confession when questioned by local news station CBC.
This raises questions about the witness’ veracity, said Lucas.
“Is (Callimachi) even being told a truthful story? She may have similar analysis skills with law enforcers, but it’s not her job to see whether she has enough evidence for court,” he said.
In an article published in the NYT earlier this year, Callimachi detailed how she scoured abandoned Daesh “government” posts for documents and souvenirs. Much of her team’s haul contained enlightening and granular evidence of the brutal regime’s crimes and day-to-day activities.
But did she hand any of the hastily retrieved documents — often snatched in the fresh aftermath of a Daesh stronghold takeover — to Iraqi security forces? “Of course not!” Callimachi told Arab News via Twitter.
In Lucas’ opinion, “Those ISIS documents are investigated as a journalist and not as a criminal investigator. (Security services) will contact journalists in certain cases.”
Charlie Beckett, director of the Truth, Trust and Technology Commission at the London School of Economics, said that he doesn’t see a real difference between a podcast and any other form of journalism when it comes to ethics.
“If you can justify a public interest then you have a good reason to publish evidence,” Beckett told Arab News. “As long as it does not compromise the workings of the judicial system or prevent due and fair process then this is exactly what journalism should do. How media outlets manage it must depend partly on local laws and norms, but also on the policy of that newsroom.”


Prank TV show with fake Daesh fighters sparks outrage in Iraq

Prank TV show with fake Daesh fighters sparks outrage in Iraq
Updated 22 April 2021

Prank TV show with fake Daesh fighters sparks outrage in Iraq

Prank TV show with fake Daesh fighters sparks outrage in Iraq
  • Playfully entrapping celebrities is a staple of primetime Ramadan programs, but some viewers say “Tanb Raslan” goes too far 

LONDON: A prank TV show in Iraq has sparked outrage after featuring fake Daesh fighters who kidnap celebrities, strap fake suicide bombs to their chest and threaten the celebrities with execution.

The controversial program, called “Tanb Raslan,” invited celebrities to visit displaced Iraqi families who supposedly fled the clutches of the extremist terrorist group. As participants arrive at the alleged house, they are ambushed with actors disguised as Jihadist fighters who immediately threatened to kill them.

Celebrities were then blindfolded and fake suicide bombs were strapped to their chest. Unknown to the participants that their surroundings are fictitious, they were shown on their knees and get emotional all while the cameras are rolling. 

Iraqi footballer Alaa Mhawi became tearful and pleaded for his life while Nessma, a 58-year-old Iraqi actress, lost consciousness after the fake explosive belt was strapped to her.

Playfully entrapping celebrities has become a staple of primetime Ramadan TV shows in Iraq. However, this program, in particular, attracted criticism, considering Daesh and extremist violence still remain a real threat in the country.

The show is reportedly underwritten by the state-sponsored Hashd Al-Shaabi paramilitary, whose fighters helped expel Daesh fighters from Iraqi cities. These paramilitaries, still armed, have their own role in the TV show and are portrayed as heroes saving the day.

In the show, the homes of the alleged displaced families are located in the agricultural belt outside of Baghdad where Daesh sleeper cells still roam and extort locals.

Many Iraqi viewers took to social media to criticize the TV show. 

“This is not entertainment,” Bilal Al-Mosuli, a resident of Mosul, wrote on Twitter. 

Ahmed Abderradi expressed disbelief at the show after it made a tongue-in-cheek reference to Saddam Hussein, the dictator who terrorized Iraqis from 1979 to 2003. 

“Or we can throw guests into a river like the victims of Speicher,” Abderradi wrote on Twitter, referring to the 2014 Camp Speicher massacre when Daesh executed 1,700 Shiite conscripts and dumped their bodies into the Tigris.

For others, however, the show saluted anti-Daesh fighters with a slight reservation.

“But it is possible to show the bravery of the Hashd Al-Shaabi and Iraqi troops without introducing terrorism,” Noor Ghazi, an Iraqi living in the US, wrote on Twitter. 

A writer on the show, Dargham Abu Rghif, defended the program: “The scenes are harsh but if Daesh had won, artists would have had a far harder life. And all Iraqis, too.”


Gulf News to charge for digital content

Gulf News to charge for digital content
Updated 21 April 2021

Gulf News to charge for digital content

Gulf News to charge for digital content
  • UAE newspaper launches two subscription models for readers as it sets up paywall

DUBAI: The UAE English-language daily Gulf News has announced that it will start putting its online content behind a paywall.

It is unclear when the content will stop being available for free.

Print subscribers will receive a complimentary one-year access to gulfnews.com; other readers can sign up for Standard Access for AED 5.95 ($1.6) per month or Prime Access AED 8.96 per month or AED 52 per year.

The Standard package allows access to most of the website content, while the Prime package will also allow access to the new categories the newspaper is launching, including Living in UAE, Your Money, Parenting and The Good.

The move is a first for a UAE newspaper. Print revenues have been steadily declining with print media taking less than 5 percent of the total ad revenue in the Middle East and North Africa (MENA) region, according to a GroupM report.

In a Gulf News article, CEO, Editor-in-Chief and Executive Director of Publishing, Abdul Hamid Ahmad, said: “We were offering our high-quality content online for free for the longest time, when the print revenue gave us the freedom to do so. But that is on the decline, as can be seen the world over.”

He added that the decision to put content behind a paywall was taken “a while ago” as it is no longer possible to carry on offering content for free while revenues keep declining.

He said the digital paywall is not meant to be a deterrent for people reading the news. Instead, “it is a gateway for trusted, credible and verified news” that is aimed at protecting readers from “fake news, clickbait and low-quality advertising.”

The Gulf News website has an average of 230 million page views and 15 million unique visitors every month. Yet, said Ahmad, “the commensurate revenue has not come in,” which has an impact on the quality of advertising.

He believes that the paywall will not only encourage better journalism but also better advertising. “Once you have paid subscribers, it will mean a targeted market that advertisers can optimise and utilise more effectively.”

Over the past two years, more publishers have introduced paywalls to sustain their business, although some lowered their paywalls during the pandemic.

“The idea was that information about the outbreak of COVID-19 had life-saving potential, and so it should be available to everyone, not just to subscribers — a fraction of news readers who tend to be the wealthiest and most highly-educated,” reported the Columbia Journalism Review.

Meher Murshed, Executive Editor, Digital at Gulf News, said in an article on the paper’s website that the need of the hour is to break news instantly, which can compromise accuracy.

“There is a cost to fact-checked, responsible journalism, one that is not click bait or chases page views. We have to spend resources for in-depth reporting.”

That is why Gulf News decided to launch a digital subscription, said Murshed, “so we can continue giving our readers quality journalism.”


Kantar announces winners of Creative Effectiveness Awards 2020

Throughout last year, Kantar, a data-driven insights and consulting company, tested more than 10,000 adverts for clients around the world. (Supplied)
Throughout last year, Kantar, a data-driven insights and consulting company, tested more than 10,000 adverts for clients around the world. (Supplied)
Updated 21 April 2021

Kantar announces winners of Creative Effectiveness Awards 2020

Throughout last year, Kantar, a data-driven insights and consulting company, tested more than 10,000 adverts for clients around the world. (Supplied)
  • Awards analyzed more than 10,000 digital, TV ads

DUBAI: Throughout last year, Kantar, a data-driven insights and consulting company, tested more than 10,000 adverts for clients around the world and has now revealed the ones that performed most effectively.

Unlike other awards, Kantar relies on consumer feedback to award campaigns.

The most creative and effective ads of 2020 were:

1. Heineken / US / Cheers to all from Publicis

2. Bosch / Germany / Atino from C3 Creative Code and Content (Stuttgart)

3. Burger King / France / Consignes 2 Security – The Retour from Buzzman

4. Shea Moisture / US / It Comes Naturally from BBDO New York and JOY Collective

5. Samsung / US / Make their year, with Galaxy Buds Live from R/GA

6. Milka / France / And a lot of Milka from DAVID Madrid

7. Google / US / Find your Scene from Google Brand Studio

8. TENA / UK / TENA Silhouette Washable Underwear (I will wear what I want) from AMV BBDO, London

9. TD / Canada / Keeping your business moving forward from Leo Burnett

10 Adrenaline Rush / Russia / More from KAPIBARA

11. YouTube Kids / US / YouTube Kids Brand Anthem Film from Droga5

12 Avocados from Mexico / US / Avocados from Mexico Shopping Network from Energy BBDO Chicago

13. Gatorade / Chile / Gatorade GOAT CAMP from TBWA / Chiat de Los Angeles

14. Toyota Corolla / Canada / Vente Etiquettes Rouges from The Showroom

15. Kozel / Slovakia / Pimp my goat from Armada

16. Nissan Sentra / US / Joy Ride from Nissan United

17. Panadol Actifast / Malaysia / Delivery Rider Malaysia from Grey Group Singapore

18. eBay Australia / Australia / The Fast and the Furious from Che Proximity Australia

19. Siemens Home Appliances / Turkey / Ankastre from MullenLowe Istanbul

20. Hershey’s Kisses / US / Bells to Blossoms from mcgarrybowen

 

Based on the winners for 2020, the company identified five habits of the most effective advertisers.

Daren Poole, global head of creative at Kantar, said: “While there is no one-size-fits-all solution to creative and effective advertising, we observed five habits from our winners that ensure their advertising will deliver for their brand – in both the short and long term. These can act as guidelines for all advertisers.”

The five habits:

Be distinctive: Create the ability to be noticed and remembered in a world where there is a profusion of ads. Your ad is not just competing in its category. It is competing for attention against the world. Stand out from the category as a minimum, and ideally from any other advertising.

Brand intrinsically: Make sure that the attention won by the ad is at the service of the brand. Get your branding cues right. A surprising number of companies forget this basic rule.

Be meaningfully different: To grow market share or defend premium pricing you need to fulfil consumers’ functional, emotional, and social needs in the category and illustrate your uniqueness compared to the competition.

Trigger an emotional response: Making the viewer feel something, wins engagement for the ad, bypassing the natural tendency to screen out advertising. It also has positive effects on the brand’s emotional associations.

Talk with your consumer: Successful marketers know they can get too close to their creative journey and lose perspective, so they listen to viewer feedback during creative development.


Garena Free Fire wins over mobile gamers

Garena Free Fire wins over mobile gamers
Updated 21 April 2021

Garena Free Fire wins over mobile gamers

Garena Free Fire wins over mobile gamers
  • From tournaments and partnerships to a great gaming experience, Garena Free Fire ticks all the boxes

DUBAI: People spent an average of approximately 3.5 hours a day globally on their mobile phones in 2018. That is predicted to rise about 4 hours this year, according to Statista.

It’s unsurprising, given that more people use their mobile devices for everything from relaxing and socializing to shopping and even doctor’s visits — and that a significant portion of the time spent on mobiles is on gaming apps. In 2020, mobile playtime went up by 62 percent, according to Game Analytics, mostly as a result of COVID-19 lockdowns. Although gaming, in general, is more popular among younger audiences, mobile devices have opened up the arena to older audiences as well.

The increased time spent on mobile gaming – an estimated $85 billion industry – has encouraged developers to launch games that go beyond the puzzle game style popularized by the likes of Candy Crush.

One such game is Garena Free Fire. Launched in 2017, the battle royale style game shot to popularity in 2019 with the game achieving more than 100 million peak daily active users in 2020. It was the most downloaded mobile game worldwide both in 2019 and 2020, according to App Annie.

Battle royale games are multiplayer survival games that require players to eliminate other players to win. Since such games usually feature high-end graphics and animation, they’re better suited to bigger screens. However, Garena Free Fire was designed exclusively with the mobile gamer in mind, said Hans Saleh, Country Head for Garena, Middle East and North Africa (MENA).

The gaming market in the MENA region is full of potential. According to a Frost & Sullivan report, gaming in the MENA region is estimated to be worth $4.5 billion, with the number of gamers believed to be more than 100 million.

The report also found that Saudi Arabia ranked 19th in gaming revenues in 2019, while the UAE ranked 35th.

“Saudi is definitely one of the big markets, and so is the UAE. We are also seeing growth in Egypt. We are focusing on being closer to the gamers because it’s all about the user experience for us,” said Saleh.

The company conducted extensive research to get feedback on its product. Saleh attributes the popularity of the game to this user-centric approach. In fact, currently, Garena is in the process of beta testing a new version of the game called Garena Free Fire MAX, although there are no plans for a public launch yet.

Garena Free Fire-related content recorded more than 72 billion view counts across YouTube globally in 2020, making it the most viewed mobile-only video game globally on YouTube for both 2019 and 2020. It was also the third most viewed among all video games on YouTube in 2020.

The company is also promoting the game by building Garena Free Fire communities globally through grassroots events and influencer engagements; and through collaborations such as those with Netflix’s “Money Heist” and football superstar Cristiano Ronaldo.

To attract players in the region, Garena Free Fire recently announced a collaboration with Arab superstar Mohamed Ramadan. He will be introduced as an in-game character, becoming the first-ever playable Arab character in a battle royale game.

Another way of engaging gamers is through tournaments. The Free Fire World Series was launched in 2019 with a top prize of $200,000. “It gathers all the champions from different regions globally and they compete to become the world champion,” said Saleh.

Due to COVID-19 restrictions, the World Series was converted to the Continental Series in 2020 with separate tournaments for America, Asia, and the Europe and Middle East and Africa (EMEA) region with a total prize pool of $900,000 divided among the three regions.

This year, Garena is launching a new format especially for the MENA region, which includes the launch of the Free Fire Arab League and Free Fire Arab Championship. The winners of the Arab Championship will be eligible to participate in the Arab League, the winners of which will then go on to represent the MENA region in the Free Fire World Series.

The Free Fire World Series 2021 will take place in May in Singapore and will feature a $2 million prize pool.

Garena believes that the new format can engage viewers and players, as well as being sustainably run for the foreseeable future, said Saleh.


Netflix shares tumble as subscriber growth cools

Netflix shares tumble as subscriber growth cools
This Aug. 13, 2020 photo shows a logo for Netflix on a remote control in Portland, Ore. (AP)
Updated 21 April 2021

Netflix shares tumble as subscriber growth cools

Netflix shares tumble as subscriber growth cools
  • Netflix executives had cautioned in past quarters that the pandemic fueled a surge in subscriptions, with people who would have eventually signed up jumping on board sooner than they might have

SAN FRANCISCO: Netflix shares plunged Tuesday after the leading streaming service reported cooling growth in paid subscriptions that had caught fire during the pandemic.
While revenue jumped 24 percent in the first quarter of this year when compared to the same period in 2020, paid memberships grew less than expected to 208 million, Netflix said in its quarterly earnings release.
New subscriber additions were some two million below Netflix's forecast.
"We believe paid membership growth slowed due to the big Covid-19 pull forward in 2020 and a lighter content slate in the first half of this year, due to Covid-19 production delays," executives said in the release.
Netflix reported profit was up to a stunning $1.7 billion on revenue of $7.2 billion, as subscribers weathered price increases.
The Silicon Valley-based company said it expected subscriber growth to accelerate anew later this year as it releases sequels to hit shows.
"We had those ten years where we were growing smooth as silk," Netflix chief executive Reed Hastings said on a streamed earnings call.
"It is just a little wobbly right now."
Netflix executives had cautioned in past quarters that the pandemic fueled a surge in subscriptions, with people who would have eventually signed up jumping on board sooner than they might have.
"We continue to anticipate a strong second half with the return of new seasons of some of our biggest hits and an exciting film lineup," Netflix said in an earnings letter.
A shift from traditional television to streamed services such as Netflix remains a clear trend, according to the company.
However, competition is also ramping up from Disney, Amazon and other titans.
"More and more new streaming services are launching, reinforcing our vision that linear TV will slowly give way to streaming entertainment," Netflix said.
"We're working as hard as ever to continually improve our service so that we are the best entertainment option available."
But the sharp deceleration suggested slower growth ahead from Netflix, sending shares down some 11 percent in after-hours trade.
Hastings said that competition in the streaming television market has been consistently fierce, with Amazon Prime and Hulu as rivals for more than a decade.
The cooling is a "sign that the world is coming back to more normal at the expense of Netflix," tweeted Gene Munster of the investment firm Loup Ventures. "We think the long-term growth is flattish."

Productions delays caused by the pandemic have resulted in the release of many original Netflix shows being delayed until the second half of this year, according to the company.
"While the roll out of vaccines is very uneven across the world, we are back up and producing safely in every major market, with the exception of Brazil and India," Netflix said.
The streaming television service expected to spend more than $17 billion on a wide range of content, much of it original.
New seasons of hit shows set for release later this year included Sex Education, The Witcher, La Casa de Papel (Money Heist), and You.
Original films slated to arrive included the finale to The Kissing Booth trilogy; Red Notice starring Gal Gadot, Dwayne Johnson and Ryan Reynolds, and Don't Look Up which has a cast including Leonardo DiCaprio, Jennifer Lawrence, Cate Blanchett, Timothee Chalamet, and Meryl Streep.
Netflix is also investing in shows made by talent outside the US, finding "locally authentic stories" from around the world resonate with viewers.
"We're increasingly seeing that these local titles find significant audiences around the world, which supports our thesis that great stories are universal," Netflix said.,
Examples of recent local language hits included Lupin, a series based on French novels telling tales of a daring gentleman burglar, according to Netflix.
A second season of Lupin is due out later this year.