By painting the suffering of the Iranian people as a rage against Islam the Western media is not only misrepresenting these brave protests but demeaning them
Almost a year in and the coronavirus has given us a new set of tests, the results of which must redefine our outlook on societies and humanity as a whole. As we analyse the statistical ebb and of those affected by the disease and watch as governments scramble for solutions tailored to their own societal fabric, we have come to hear the figures speak.
Many in the Arab world were moved to rally in support and justly so. Social-media timelines were blacked out and the hashtag Black Lives Matter saw great contributions by enraged Arabs.
Loss of any innocent life is always grievable but as is the nature of analysis and the obligation of criticism the comparison of this loss is a requirement.
The mirror that COVID-19 has forced us to look into is one that has no cracks, it reflects reality in its harshest form and unless we truly look, and come out the other side changed human beings, all this agony would have been for nothing
Though the two worlds of entertainment and politics orbit around different issues and are inhabited by people who are structured somewhat differently, they always tend to meet and intermingle one way or another.
Virtual connections have stripped bare the essence of love songs, for no longer does one have to climb the highest mountain or brave the desert sands to be with the ones they love.
The British Empire colonised most of the world, including most Arab countries, and for decades the countries under its grasp fought to see the Union Jack unearthed from their soil.
Throughout history numerous books have created massive conflicts between people and ripped holes into well-knit societies. The most infamous of all is Adolf