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Dispatch from Gaza: Hind Khoudary
Hind Khoudary: Marhaba! (Hello) Let me show you where I am right now: I’m on a rooftop because it’s very hot and we don’t have any electricity, so this is the only way we can get some fresh air. I’m displaced in Deir al Balah right now and I have been displaced since November.
EIP: You said that it’s 8pm right now and that you’re on a rooftop; can you describe where you are and what it looks like and what it feels like and what you smell and take us to Gaza for a second?
HIND: So the main reason we’re on this rooftop is because this is the house of Motaz Al Azaiza, our colleague, who is hosting a group of journalists and friends at his house because we were displaced. He’s originally from Der El Balach.
After Motaz left, we stayed in his house. We’re a group of friends and journalists who have been covering this together since day one and have been displaced together. It’s our support system; we report in the morning and then we sit down and watch the sunset—here, I’ll show you the sunset— watching it is something I do every single day because it’s the only thing that keeps me going and revives my soul. We have not been eating for the past couple of weeks, especially after the Rafah invasion. No food is coming in, so every single day at this time we start searching for food. We ate noodles for the first week and then we started eating bread with cheese from another supermarket that started making dairy like cheese, goat cheese and lebneh.
The boys went grocery shopping and then we’re going to start eating in the next hour. We report all day and then just hang out here at night because it’s the only thing we can do. We can’t go out; we don’t have anywhere safe. Anything could happen any minute, so we try to find calmness and peace in those times where we’re sitting and not doing anything.
I think I’ve been dehydrated the past couple of months, which is so hard in the summer. We don’t drink a lot of water not only because we can’t find drinking water, but because there’s no access to bathrooms, we try not to eat or drink as much as possible. These are very small details that we don’t really say when we’re reporting, but it’s not just reporting this, but about living it and I think this is the hardest part.
I have been away from my family for for eight months now. They all left Gaza because it was unbearable for them to stay and they had the opportunity to leave so they left. I’m the only person who stayed in Gaza and I feel so sad, and so homesick. I miss my family. I miss my husband. I miss everything before October 7 actually.
EIP: Can you take us to that moment? Maybe it was October 7th, or maybe it was a few weeks later, but those first few weeks where this happened; where were you? What were you doing? What were the conversations?
HIND: On October 7, I was at home. I didn’t do any reporting; I was just shocked, you know? Then I went out reporting on the third day of this war because I’m a freelance journalist so I didn’t know who I wanted to work with or what I was gonna do. I didn’t know what was happening— no one did. I lived with my husband in Istanbul for the past four years, and we chose to settle back in Gaza in August. We shipped everything— we brought all our furniture and everything from Istanbul, so we were shocked that this happened.
Since the second or third day, when I started reporting, I did not see my family for an entire hour. I used to grab some moments with them, but, for example, my mom traveled without me seeing her. My husband traveled when I was in the north and he was in the south. There was no way to evacuate, so he left without me seeing him. My mom, the same thing. I was only able to see my brothers before they left. But it was very hard.
I left the house not thinking that I would never go back. I remember taking a t-shirt and a pair of jeans and that’s it, you know? I always thought that I’d go back home — and in the first couple of weeks I did go back home, but every time I went home, I never thought ‘okay, this is it.’ The last time I left, I took a couple of socks and a couple more t -shirts, because I felt like I was going to be stationed in another place. That was the last time I went home, and then when I evacuated south, I found this random Instagram reel, where I saw my house bombed. Khalas, ya3ni. It’s not there anymore. That’s when I started reminding myself, ‘okay, so I don’t have anything to wear. I don’t have a closet. I don’t have anything left. All I have right now is my phone and my laptop.
EIP: You saw it on a reel? You were just on the internet, and that’s how you found out?
HIND: Exactly. I never imagined that this is how I’d know that my house was bombed. I cried so much that day. I remember my heart crying, it was so painful, because it’s something my father built, and my father passed away in 2012, and it was the only thing that reminds me of him.
Since then, every time I go to a place, and it’s wiped off and reduced to rubble, I remember the house, and I remember that I’m not even able to go and see my house —even if it was just rubble— because we’re not allowed to go there.
It’s a cycle of violence, a cycle of heartaches and heartbreaks. But at the same time, I continue to report because I feel like people need to know what’s going on, but it’s not easy. There were a couple of times that I was mentally collapsing and physically collapsing and emotionally collapsing— it’s not easy, it’s very hard but I need to do this.
EIP: Do you remember the last conversation you had with your husband when he was still in Gaza? What was going through your head when you talked last?
HIND: laughing I think we were fighting about the fact that he didn’t want me to report and go to the field because he was terrified. He found me in the middle of a battlefield, like literally in the middle of a battlefield, and he could not do anything about it. I’m a very stubborn person, and of course you wouldn’t like your partner to be in the middle of airstrikes and bombs and everything. He was terrified. That was the last conversation we had, that I wanted to go report and this was it. I remember the last time I saw him in Gaza, I wanted to visit him and it had been a month without seeing him. This was November and I went to see him and hug him, then we learned one of our best friends was killed. I literally had only an hour to see him before my friend was going to pick me up to go back to the office. I spent the hour crying with him and then I went back to the office.
Even having time to enjoy with the people close to you, you can’t because you’re overwhelmed with everything going on. We lost a lot of dear people, you know? It’s very hard and I think we did not have time to grieve, and to express or process the amount of loss. This is all going to start showing in the next few years because we have been squeezed emotionally—we’re trapped. I’m very happy that my family is not here because I won’t feel worried about them. I won’t feel like anything’s going to hurt them. This is the only thing that’s giving me a little bit of comfort, let’s say.
EIP: This all seems so intense and I’m a journalist and have never even come close to covering something like this. What is a day in the life for you in terms of your job? Like, how do you choose which sort of event to cover?
HIND: It depends. For example, a couple of days ago, it was 5am when my colleagues woke me up, like ‘Hind, they [Israel] targeted a UN school.’ There’s no coffee, there’s no wake up, there’s no ‘wash your face’, there’s no ‘comb your hair’— nothing. You just start running.
Even now as I’m talking to you, there could be some huge explosion or a huge event and I’d leave you and go. I don’t ever remember choosing what to cover. It comes to you. You don’t choose it; it happens, you go there, you start reporting and this is how it works.
EIP: Do you have any sort of anecdotes or memories or stories of people that come to mind?
HIND: My uncle. My cousin. My friend— my friends. The people I used to hang out with— like shisha hangouts every night— they were killed. My uncle, when we had Eid Al Adha in Ramadan, used to call me, I used to call him. We used to gather. He’s not there. My uncle was killed in the Al Shifa operation, and I remember that they said that he was killed, but they do not know where or how, then there was a photo circulating on social media of people killed in the Al Shifa operation, and I zoomed into the picture, like ‘This looks like my uncle! Is that him? No, no no, it’s not him.’ After they withdrew from the area, my mom was like this photo is your uncle, and I see him killed laying on the floor and on his lap is my cousin, and beside him is his sister in law, and a group of people. This is my uncle. Now every time I see people killed I don’t look at the photos; I don’t want to recognize anyone.
EIP: Do you get a chance to talk about this with the people you’re working with, or the friends you’re living with?
HIND: All the time when we’re sitting together on the rooftop, we ask, ‘okay, so if we get an airstrike what’s gonna happen?’ I had this conversation yesterday with one of my friends, who said, ‘No, maybe you’re gonna fly to another street, ‘ and I’m like ‘Okay, but are we gonna hear anything if it happens? Then I’m like ‘no no it’s not gonna happen.’ We’re traumatized, and all of these scenes and all of these memories come to you every single time.
I remember when we were in the office back in Gaza City, I always had a bottle of water with me because if anything happened and the building was bombed, I wanted to have some water with me. Many civilians were trapped under the rubble, but I could have sips of water and I could live more. That’s how I used to think.
Every time you see someone, bil sudfa (by coincidence) in the market or something, we do not recognize each other. Everyone’s pale, everyone lost a lot of weight, everyone’s sad and overwhelmed. It’s so heartbreaking actually.
EIP: You kind of mentioned it before, but I’d like to go into it a little more. What is the reason you stayed? What is the importance of being a journalist in Gaza in this moment?
HIND: The first thing is the fact of loving Gaza itself. Like, I’m in love with Gaza. Like, everyone knows that and always tells me, enti bint Gazeh (you are a daughter of Gaza) I’m a Gazzeweya, as in I’m originally a Gazan. I’m so connected to this place; I’m connected to the sea. I’m connected to the sky, I’m connected to the people, to the clouds, to everything. When I was away in Istanbul, I used to tell my husband every single day, ‘I want to go back to Gaza’. Every single day, ‘I want to go back. I want to go back.’
So, the thing that’s making me report is my connection to Gaza. The second thing is that I wanted to report about Gaza and about the Gazan people. I always wanted to uplift their voice.
The third thing is when people interact and are engaging with everything we’re doing, and the amount of solidarity we’re receiving, it really gives us a very big push to keep going.
I think these are the three main reasons. The biggest reason is to continue the journey of our fellows that were killed by the Israeli forces.
I remember posting and then going to report or posting something and then not having internet connection, then when we opened our Instagrams, and saw the amount of engagement and the amount of interaction and the amount of followers we received, we were shocked, to be honest.
I never imagined that a fifteen second video would really change people’s thinking and how they perceive it [the situation]. For me, I tried to do very short videos or talk on Instagram very normally and naturally [candidly]. I never overthought what I wanted to say and I think that was the reason why I really connected to the people. It’s because I’m a very normal person; I’m just saying what’s happening, you know? When we found people were really talking about us, like if you had no internet for one day, you’d find people asking about you.
We found how important it was; people are not relying on news outlets and TVs anymore, they’re relying on us and that’s where the responsibility increased, we found that we had weight on our shoulders. We have to write, we have to report, we have to tweet. We’re the source for a lot of people. There has been a very big impact and the reason, the main thing is, Gazan journalists were able to be the voice, and despite the fact that no foreign journalists or international journalists are coming in, we’re doing a great job.
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{
"article":
{
"title" : "Dispatch from Gaza: Hind Khoudary",
"author" : "Hind Khoudary",
"category" : "interviews",
"url" : "https://everythingispolitical.com/readings/dispatch-from-gaza-hind-khoudary",
"date" : "2024-08-30 12:05:00 -0400",
"img" : "https://everythingispolitical.com/uploads/2024_EIP_Hind_Khoudary_Quote_S1.jpg",
"excerpt" : "",
"content" : "Hind Khoudary: Marhaba! (Hello) Let me show you where I am right now: I’m on a rooftop because it’s very hot and we don’t have any electricity, so this is the only way we can get some fresh air. I’m displaced in Deir al Balah right now and I have been displaced since November.EIP: You said that it’s 8pm right now and that you’re on a rooftop; can you describe where you are and what it looks like and what it feels like and what you smell and take us to Gaza for a second?HIND: So the main reason we’re on this rooftop is because this is the house of Motaz Al Azaiza, our colleague, who is hosting a group of journalists and friends at his house because we were displaced. He’s originally from Der El Balach.After Motaz left, we stayed in his house. We’re a group of friends and journalists who have been covering this together since day one and have been displaced together. It’s our support system; we report in the morning and then we sit down and watch the sunset—here, I’ll show you the sunset— watching it is something I do every single day because it’s the only thing that keeps me going and revives my soul. We have not been eating for the past couple of weeks, especially after the Rafah invasion. No food is coming in, so every single day at this time we start searching for food. We ate noodles for the first week and then we started eating bread with cheese from another supermarket that started making dairy like cheese, goat cheese and lebneh.The boys went grocery shopping and then we’re going to start eating in the next hour. We report all day and then just hang out here at night because it’s the only thing we can do. We can’t go out; we don’t have anywhere safe. Anything could happen any minute, so we try to find calmness and peace in those times where we’re sitting and not doing anything.I think I’ve been dehydrated the past couple of months, which is so hard in the summer. We don’t drink a lot of water not only because we can’t find drinking water, but because there’s no access to bathrooms, we try not to eat or drink as much as possible. These are very small details that we don’t really say when we’re reporting, but it’s not just reporting this, but about living it and I think this is the hardest part.I have been away from my family for for eight months now. They all left Gaza because it was unbearable for them to stay and they had the opportunity to leave so they left. I’m the only person who stayed in Gaza and I feel so sad, and so homesick. I miss my family. I miss my husband. I miss everything before October 7 actually.EIP: Can you take us to that moment? Maybe it was October 7th, or maybe it was a few weeks later, but those first few weeks where this happened; where were you? What were you doing? What were the conversations?HIND: On October 7, I was at home. I didn’t do any reporting; I was just shocked, you know? Then I went out reporting on the third day of this war because I’m a freelance journalist so I didn’t know who I wanted to work with or what I was gonna do. I didn’t know what was happening— no one did. I lived with my husband in Istanbul for the past four years, and we chose to settle back in Gaza in August. We shipped everything— we brought all our furniture and everything from Istanbul, so we were shocked that this happened.Since the second or third day, when I started reporting, I did not see my family for an entire hour. I used to grab some moments with them, but, for example, my mom traveled without me seeing her. My husband traveled when I was in the north and he was in the south. There was no way to evacuate, so he left without me seeing him. My mom, the same thing. I was only able to see my brothers before they left. But it was very hard.I left the house not thinking that I would never go back. I remember taking a t-shirt and a pair of jeans and that’s it, you know? I always thought that I’d go back home — and in the first couple of weeks I did go back home, but every time I went home, I never thought ‘okay, this is it.’ The last time I left, I took a couple of socks and a couple more t -shirts, because I felt like I was going to be stationed in another place. That was the last time I went home, and then when I evacuated south, I found this random Instagram reel, where I saw my house bombed. Khalas, ya3ni. It’s not there anymore. That’s when I started reminding myself, ‘okay, so I don’t have anything to wear. I don’t have a closet. I don’t have anything left. All I have right now is my phone and my laptop.EIP: You saw it on a reel? You were just on the internet, and that’s how you found out?HIND: Exactly. I never imagined that this is how I’d know that my house was bombed. I cried so much that day. I remember my heart crying, it was so painful, because it’s something my father built, and my father passed away in 2012, and it was the only thing that reminds me of him.Since then, every time I go to a place, and it’s wiped off and reduced to rubble, I remember the house, and I remember that I’m not even able to go and see my house —even if it was just rubble— because we’re not allowed to go there.It’s a cycle of violence, a cycle of heartaches and heartbreaks. But at the same time, I continue to report because I feel like people need to know what’s going on, but it’s not easy. There were a couple of times that I was mentally collapsing and physically collapsing and emotionally collapsing— it’s not easy, it’s very hard but I need to do this.EIP: Do you remember the last conversation you had with your husband when he was still in Gaza? What was going through your head when you talked last?HIND: laughing I think we were fighting about the fact that he didn’t want me to report and go to the field because he was terrified. He found me in the middle of a battlefield, like literally in the middle of a battlefield, and he could not do anything about it. I’m a very stubborn person, and of course you wouldn’t like your partner to be in the middle of airstrikes and bombs and everything. He was terrified. That was the last conversation we had, that I wanted to go report and this was it. I remember the last time I saw him in Gaza, I wanted to visit him and it had been a month without seeing him. This was November and I went to see him and hug him, then we learned one of our best friends was killed. I literally had only an hour to see him before my friend was going to pick me up to go back to the office. I spent the hour crying with him and then I went back to the office.Even having time to enjoy with the people close to you, you can’t because you’re overwhelmed with everything going on. We lost a lot of dear people, you know? It’s very hard and I think we did not have time to grieve, and to express or process the amount of loss. This is all going to start showing in the next few years because we have been squeezed emotionally—we’re trapped. I’m very happy that my family is not here because I won’t feel worried about them. I won’t feel like anything’s going to hurt them. This is the only thing that’s giving me a little bit of comfort, let’s say.EIP: This all seems so intense and I’m a journalist and have never even come close to covering something like this. What is a day in the life for you in terms of your job? Like, how do you choose which sort of event to cover?HIND: It depends. For example, a couple of days ago, it was 5am when my colleagues woke me up, like ‘Hind, they [Israel] targeted a UN school.’ There’s no coffee, there’s no wake up, there’s no ‘wash your face’, there’s no ‘comb your hair’— nothing. You just start running.Even now as I’m talking to you, there could be some huge explosion or a huge event and I’d leave you and go. I don’t ever remember choosing what to cover. It comes to you. You don’t choose it; it happens, you go there, you start reporting and this is how it works.EIP: Do you have any sort of anecdotes or memories or stories of people that come to mind?HIND: My uncle. My cousin. My friend— my friends. The people I used to hang out with— like shisha hangouts every night— they were killed. My uncle, when we had Eid Al Adha in Ramadan, used to call me, I used to call him. We used to gather. He’s not there. My uncle was killed in the Al Shifa operation, and I remember that they said that he was killed, but they do not know where or how, then there was a photo circulating on social media of people killed in the Al Shifa operation, and I zoomed into the picture, like ‘This looks like my uncle! Is that him? No, no no, it’s not him.’ After they withdrew from the area, my mom was like this photo is your uncle, and I see him killed laying on the floor and on his lap is my cousin, and beside him is his sister in law, and a group of people. This is my uncle. Now every time I see people killed I don’t look at the photos; I don’t want to recognize anyone.EIP: Do you get a chance to talk about this with the people you’re working with, or the friends you’re living with?HIND: All the time when we’re sitting together on the rooftop, we ask, ‘okay, so if we get an airstrike what’s gonna happen?’ I had this conversation yesterday with one of my friends, who said, ‘No, maybe you’re gonna fly to another street, ‘ and I’m like ‘Okay, but are we gonna hear anything if it happens? Then I’m like ‘no no it’s not gonna happen.’ We’re traumatized, and all of these scenes and all of these memories come to you every single time.I remember when we were in the office back in Gaza City, I always had a bottle of water with me because if anything happened and the building was bombed, I wanted to have some water with me. Many civilians were trapped under the rubble, but I could have sips of water and I could live more. That’s how I used to think.Every time you see someone, bil sudfa (by coincidence) in the market or something, we do not recognize each other. Everyone’s pale, everyone lost a lot of weight, everyone’s sad and overwhelmed. It’s so heartbreaking actually.EIP: You kind of mentioned it before, but I’d like to go into it a little more. What is the reason you stayed? What is the importance of being a journalist in Gaza in this moment?HIND: The first thing is the fact of loving Gaza itself. Like, I’m in love with Gaza. Like, everyone knows that and always tells me, enti bint Gazeh (you are a daughter of Gaza) I’m a Gazzeweya, as in I’m originally a Gazan. I’m so connected to this place; I’m connected to the sea. I’m connected to the sky, I’m connected to the people, to the clouds, to everything. When I was away in Istanbul, I used to tell my husband every single day, ‘I want to go back to Gaza’. Every single day, ‘I want to go back. I want to go back.’So, the thing that’s making me report is my connection to Gaza. The second thing is that I wanted to report about Gaza and about the Gazan people. I always wanted to uplift their voice.The third thing is when people interact and are engaging with everything we’re doing, and the amount of solidarity we’re receiving, it really gives us a very big push to keep going.I think these are the three main reasons. The biggest reason is to continue the journey of our fellows that were killed by the Israeli forces.I remember posting and then going to report or posting something and then not having internet connection, then when we opened our Instagrams, and saw the amount of engagement and the amount of interaction and the amount of followers we received, we were shocked, to be honest.I never imagined that a fifteen second video would really change people’s thinking and how they perceive it [the situation]. For me, I tried to do very short videos or talk on Instagram very normally and naturally [candidly]. I never overthought what I wanted to say and I think that was the reason why I really connected to the people. It’s because I’m a very normal person; I’m just saying what’s happening, you know? When we found people were really talking about us, like if you had no internet for one day, you’d find people asking about you. We found how important it was; people are not relying on news outlets and TVs anymore, they’re relying on us and that’s where the responsibility increased, we found that we had weight on our shoulders. We have to write, we have to report, we have to tweet. We’re the source for a lot of people. There has been a very big impact and the reason, the main thing is, Gazan journalists were able to be the voice, and despite the fact that no foreign journalists or international journalists are coming in, we’re doing a great job."
}
,
"relatedposts": [
{
"title" : "Skims, Shapewear, and the Shape of Power: When a Brand Expands Into Occupied Territory",
"author" : "Louis Pisano",
"category" : "",
"url" : "https://everythingispolitical.com/readings/skims-shapewear-and-the-shape-of-power",
"date" : "2025-11-17 07:13:00 -0500",
"img" : "https://everythingispolitical.com/uploads/Cover_EIP_Skims_Israel.jpg",
"excerpt" : "On the evening of November 11, Kris Jenner celebrated her 70th birthday inside the fortified sprawl of Jeff Bezos’s $175 million Beverly Hills compound, hidden behind hedges so tall they violate city regulations, a rule he bypasses with a monthly $1,000 fine that functions more like a subscription fee than a penalty. The theme was James Bond, black tie and martini glasses, a winking acknowledgment of Amazon’s new ownership of the 007 franchise. Guests surrendered their phones upon arrival, a formality as unremarkable as valet check-in. Whatever managed to slip beyond the gates came in stray fragments: a long-lens photograph of Oprah Winfrey stepping out of a black SUV, Mariah Carey caught mid-laugh on the curb, Kylie Jenner offering a middle finger through the window of a chauffeured car. The rest appeared hours later in the form of carefully curated photos released by an official photographer, images softened and perfected until they resembled an ad campaign more than documentation. Nothing inside was witnessed on anyone’s own terms.",
"content" : "On the evening of November 11, Kris Jenner celebrated her 70th birthday inside the fortified sprawl of Jeff Bezos’s $175 million Beverly Hills compound, hidden behind hedges so tall they violate city regulations, a rule he bypasses with a monthly $1,000 fine that functions more like a subscription fee than a penalty. The theme was James Bond, black tie and martini glasses, a winking acknowledgment of Amazon’s new ownership of the 007 franchise. Guests surrendered their phones upon arrival, a formality as unremarkable as valet check-in. Whatever managed to slip beyond the gates came in stray fragments: a long-lens photograph of Oprah Winfrey stepping out of a black SUV, Mariah Carey caught mid-laugh on the curb, Kylie Jenner offering a middle finger through the window of a chauffeured car. The rest appeared hours later in the form of carefully curated photos released by an official photographer, images softened and perfected until they resembled an ad campaign more than documentation. Nothing inside was witnessed on anyone’s own terms.The guest list felt less like a party roster and more like an index of contemporary American power. Tyler Perry arrived early, Snoop Dogg later in the evening, Paris Hilton shimmering in a silver column that clung like liquid metal. Hailey Bieber drifted past in a slinky black dress, while Prince Harry and Meghan Sussex appeared in images that were quietly scrubbed from the family grid a day later. Nine billionaires circulated among the luminaries, their combined wealth brushing toward $600 billion. Mark Zuckerberg and Priscilla Chan joined Bill Gates at the poker table, while Bezos himself wandered through the party with Lauren Sánchez, doing the kind of effortless hosting that comes with having $245B in the bank.Jenner, dressed in red vintage Givenchy by Alexander McQueen, floated from conversation to conversation. She paused for a warm embrace with Perry, raised a glass with Hilton, and eventually made her way to the dance floor with Justin Bieber. At 70, she remains the family’s central command center, equal parts mother, manager, strategist, and brand steward. The celebration functioned as a kind of coronation, a reaffirmation that the Kardashian-Jenner empire is not stagnating but expanding, stretching itself into new sectors and new narratives with the same relentless ease that has defined its last decade.Just two weeks earlier, on a bright Monday in late October, a very different scene unfolded at the SKIMS flagship on the Sunset Strip. That morning, the boutique had been cleared to host Hagiborim, the Israeli nonprofit that supports children of fallen IDF soldiers and orphans of the October 7 attacks. Around a dozen girls wandered the store, laughing among themselves, perusing tank tops, and snapping selfies before assembling outside with those unmistakable beige SKIMS shopping bags. The images of the visit were sparse and easily missed unless one went searching; they appeared only on Hagiborim’s Instagram highlights. The event took place on October 28, less than a week before news began to circulate about SKIMS’s upcoming entry into the Israeli market.The launch itself unfolded with clinical precision. On November 10th in partnership with Irani Corp, SKIMS went live on Factory 54’s Israeli website, with in-store boutiques planned for December and ten to fifteen standalone stores projected to open across Israel by 2026. The company’s official language remained on brand, warm and relentlessly forward-looking. It spoke of “inclusivity,” of “community presence,” of broadening the global market. Nowhere did it acknowledge the war in Gaza, though the border sits just over an hour away and the headlines that week were filled with rising casualty counts and allegations of cease-fire violations, an entirely different reality unfolding parallel to the brand’s expansion.Hours after the SKIMS launch, Kardashian’s Instagram shifted into overdrive. She posted a carousel of herself in a gray bikini, captioned with a single emoji racking up millions of likes. The images came just two days after news of her fourth unsuccessful attempt at the California Bar had broken, a reminder that in the Kardashian ecosystem, social media momentum often outweighs any setback.Beneath the SKIMS machine which just raised $225M in funding is a quieter network of capital. Joshua Kushner, Jared’s younger brother, the polished, soft-spoken investor whose firm helped seed Instagram, owns a 10 percent stake and a board seat in SKIMS, a detail that surfaces only in required filings and the occasional business-page profile. The Kushner family’s ties to Israel run far deeper than the brand’s marketing conveys: long-standing real-estate ventures in Tel Aviv, and a family foundation that has funneled at least $342,000 to Friends of the IDF and another $58,500 to West Bank settlement groups and yeshivas in places like Beit El and Efrat. Jared Kushner’s diplomatic work on the Abraham Accords carved geopolitical corridors that SKIMS now moves through. The brand may position itself as apolitical, but the infrastructure of its Israel expansion is built on deeply political ground.Fashion media, however, showed little interest in any of this. A wide sweep through the archives of Business of Fashion, WWD, and Vogue Business yields nothing, not a single headline, not even a line buried in a retail digest. The launch through Factory 54, the long-term plan for as many as fifteen stores, the philanthropic event with Hagiborim, all of it passed in silence in the sector that usually treats Kardashian business moves as reliable traffic drivers.Instead, their coverage was devoted wholly to Kris Jenner’s birthday. Harper’s Bazaar published three separate pieces. W Magazine dubbed it “the Kardashians’ own Met Gala.” Vogue broke down the night with a dutifully detailed recap that leaned heavily on Harry and Meghan’s brief presence, clearly recognizing their value as SEO gold.The Kardashians operate with a level of intentionality that has outpaced many political campaigns. They understand the choreography of public-facing narratives better than any other family in American media. The Hagiborim visit, girls only, modest branding, no Kim in sight, served as a small preemptive gesture, a way to soften potential critique before the Israel launch rolled out. While the party dominated the feed, the expansion passed unnoticed and the charity event remained strictly confined to the margins, a calculated sequence, not chaos, the kind of PR mastery we’ve come to expect from Kris Jenner.The same instinct shapes their political signaling. On Inauguration Day 2025, as Donald Trump took the oath of office for a second term, Kim posted a silent Instagram Story of Melania Trump stepping out in a navy ensemble and wide-brimmed hat. She offered no caption, no endorsement, no framing. The image disappeared within 24 hours, but not before sparking a brief firestorm. It is the same familiar pattern, presence without explanation, the kind of ambiguity that allows the public to fill in the blanks while the family remains insulated.Beyond their insulated world, the conflict continues. Inside the bubble, the champagne is crisp, the Hulu cameras are rolling and the narrative is intact. What remains for the public is the split-screen: Kris Jenner blowing out seventy candles beneath a ceiling of crystals, surrounded by some of the wealthiest people alive; and Kim Kardashian posing in a studded bikini, eyes locked on the lens, hinting at the next product drop. Between the two lies a series of transactions, commercial, political, and moral, that the audience is never invited to examine.As for Kris Jenner’s birthday, it will be remembered. The launch will fade. The girls who posed with their new SKIMS pajamas will grow older; the war will either end or shift into some new phase. And the Kardashian-Jenner machine will keep moving, calculating every image, every post, every angle, ensuring the story that matters most is always the one they control."
}
,
{
"title" : "Unpublished, Erased, Unarchived: Why Arab-Led Publishing Matters More Than Ever",
"author" : "Céline Semaan",
"category" : "",
"url" : "https://everythingispolitical.com/readings/unpublished-erased-unarchived",
"date" : "2025-11-13 10:25:00 -0500",
"img" : "https://everythingispolitical.com/uploads/Cover_EIP_Unpublished.jpg",
"excerpt" : "At a moment when news of Gaza, West Bank, South Lebanon, and Beirut are slowly disappearing from the headlines—and from public consciousness—Arab writers face a singular burden: We must write the stories that no one else will print. We live in a media landscape that refuses to see us as fully human. A recent analysis from Giving Compass suggests that traditional media skews Palestinian news: seven major U.S. news outlets found that Palestinian stories were 13.6% to 38.9% less likely to be individualized than Israeli ones. Meaning, Palestinians appear as abstractions—statistics, masses, “civilians”—not as people with names, losses, or lives. Meanwhile, reports from the Centre for Media Monitoring (CfMM) show that UK outlets had a fourfold increase in coverage only when Gaza was framed through the lens of “criticism of Israel,” not Palestinian experience itself.",
"content" : "At a moment when news of Gaza, West Bank, South Lebanon, and Beirut are slowly disappearing from the headlines—and from public consciousness—Arab writers face a singular burden: We must write the stories that no one else will print. We live in a media landscape that refuses to see us as fully human. A recent analysis from Giving Compass suggests that traditional media skews Palestinian news: seven major U.S. news outlets found that Palestinian stories were 13.6% to 38.9% less likely to be individualized than Israeli ones. Meaning, Palestinians appear as abstractions—statistics, masses, “civilians”—not as people with names, losses, or lives. Meanwhile, reports from the Centre for Media Monitoring (CfMM) show that UK outlets had a fourfold increase in coverage only when Gaza was framed through the lens of “criticism of Israel,” not Palestinian experience itself.Against this backdrop of erasure, the scarcity of Arab women’s voices in publishing is even more alarming. A bibliometric study spanning 1.7 million publications across the Middle East and North Africa shows that men publish 11% to 51% more than women. What’s more, women’s authorship is less persistent, and men reach senior authorship far faster. Arab women are not only under-published but also systematically written out of the global record.This is why Slow Factory has founded Books for Collective Liberation, an Arab-led, independent imprint committed to telling Arab stories the way they should be told: authentically, empathetically, and wholly. We publish work that would never survive the filters of legacy publishing: the political hesitation, the “market concerns,” the fear of touching Arab grief, joy, or its future. Independence is not an aesthetic choice; it is the only way to protect our stories from being softened, sanitized, or structurally erased.Our forthcoming title, On the Zero Line, created in partnership with Isolarii, is a testament to that mission. It stands on the knife’s edge where memory is threatened with extinction—a book that documents what official archives will not. It is a testimony that refuses to disappear.But books alone are not enough. Stories need a home that is alive, responsive, and politically unafraid. That is the work of Everything is Political (EIP), our independent media platform and growing archive of essays, investigations, and first-person journalism. In an era where Big Tech throttles dissenting voices and newsrooms avoid political risk, EIP protects the creative freedom of Arab writers and journalists. We publish what mainstream outlets won’t—because our lives, our histories, and our communities, dead or alive, should not depend on editorial courage elsewhere.Together, Books for Collective Liberation and Everything is Political form an ecosystem of resistance: literature and journalism that feed each other, strengthening each other, building memory as infrastructure—a new archive. We refuse the fragmentation imposed on us: that books are separate from news, that culture is separate from politics, that our narratives exist only within Western frameworks. This archive is not static; it is a living, breathing record of a people determined to write themselves into the future.When stories from Gaza, Beirut, and the broader Levant fail to make the news—or make it only as geopolitical abstractions—the result breeds distortion and public consent to eliminate us. It is a wound to historical truth. It erases whole worlds. We will not let that happen.Independent, Arab-led publishing is how we repair that wound. It is how we record what happened, in our own voice. It is how we ensure that no empire, no newsroom, and no algorithm gets to decide which of our stories survive.Tonight, we gather at Palestine House to celebrate the launch of On the Zero Line, a collection of stories, essays, and poems from Gaza, translated in English for the first time. This evening, we are centering the lived experiences of Palestinians from Gaza who have been displaced in London. I have the honor of interviewing journalist Yara Eid and Ahmed Alnaouq, project manager of the platform “We are not Just Numbers.” Here, we will discuss how mainstream literature and journalism have censored us—and how we can keep our stories alive in response."
}
,
{
"title" : "The British Museum Gala and the Deep Echoes of Colonialism",
"author" : "Ana Beatriz Reitz do Valle Gameiro",
"category" : "essays",
"url" : "https://everythingispolitical.com/readings/the-british-museum-gala-and-the-deep-echoes-of-colonialism",
"date" : "2025-11-11 11:59:00 -0500",
"img" : "https://everythingispolitical.com/uploads/the-younger-memnon-statue-british-museum%20copy.jpg",
"excerpt" : "When it comes to fashion, few things are as overblown, overanalyzed, and utterly irresistible as a gala. For instance: hear the name “Met Gala”, and any fashionista’s spine will tingle while every publicist in New York breaks into a cold sweat. While New York has been hosting the original event at the Metropolitan Museum since 1948 and Paris had its Louvre moment in 2024, London finally decided to answer with an event at the British Museum on 18 October this year.",
"content" : "When it comes to fashion, few things are as overblown, overanalyzed, and utterly irresistible as a gala. For instance: hear the name “Met Gala”, and any fashionista’s spine will tingle while every publicist in New York breaks into a cold sweat. While New York has been hosting the original event at the Metropolitan Museum since 1948 and Paris had its Louvre moment in 2024, London finally decided to answer with an event at the British Museum on 18 October this year.The invitation-only event drew high-profile guests such as Naomi Campbell, Mick Jagger, Edward Enninful, Janet Jackson, Alexa Chung, and James Norton. With a theme of ‘Pink Ball,’ the night drew inspiration from the vibrant colors of India and walked hand-in-hand with the museum’s ‘Ancient India: Living Traditions’ exhibition, adding a touch of colonial irony à la British tradition.Unlike its always-talked-about New York counterpart, or Paris’s star-studded affair last year that reunited figures like Doechii, Tyra Banks, Gigi Hadid, and Victoria Beckham, London’s event felt less memorable fashion-wise. With little buzz surrounding it - whether due to a less star-studded guest list, unremarkable fashion, or its clash with the Academy Museum Gala - it ultimately felt more like an ordinary night than a headline-making affair.But the event was not entirely irrelevant. In fact, it prompted reflections rarely discussed in mainstream media. Notably, because in spite of the museum’s sprawling collection of objects from other marginalized countries, the event ‘‘celebrated’’ Indian artifacts looted during colonial rule. Equally noteworthy is the institution’s partnership with BP - the British oil giant whose exports reach Israel, a state that, in the twenty-first century, stands as a symbol of colonialism and the ongoing genocide of Palestinians. And, of course, every penny raised went to the museum’s international initiatives, including an excavation project in Benin City, Nigeria, and other archaeological digs in Iraq.Although excavation is often portrayed as a means of preserving the past, archaeologists acknowledge that it is inherently destructive - albeit justifiable if it provides people with a deeper understanding of the human past. As Geoffrey Scarre discusses in Ethics of Digging, a chapter in Cultural Heritage Ethics: Between Theory and Practice, it matters who has the authority to decide what is removed from the ground, how it is treated, whether it should be retained or reburied, and who ultimately controls it. Something that feels especially relevant when discussing the objects of marginalized communities and the legacies of countries shaped by European colonialism, now just laid bare as trophies to embellish the gilded halls of Euro-American institutions.That the British Museum’s collections were built on the wealth of its nation imperialism is hardly news. Yet the institution, like so many others, from the Louvre to the Met, continues to thrive on those very foundations. As Robert J. C. Young observes in Postcolonial Remains, “the desire to pronounce postcolonial theory dead on both sides of the Atlantic suggests that its presence continues to disturb and provoke anxiety: the real problem lies in the fact that the postcolonial remains.”Although postcolonialism is often mistakenly associated with the period after a country gained independence from colonial rule, academics like Young, Edward Said, Gayatri Chakravorty Spivak, and Frantz Fanon acknowledge that our world is still a postcolonial one, with cultural, political, and economic issues reflecting the lasting effects of colonization. Its aftermath extends beyond labels like “Third World” or the lingering sense of superiority that still marks the Global North; it also fuels a persistent entitlement to our art, culture, and legacy.This entitlement can be seen in the halls of many museums worldwide. And though looting may not always be illegal - as in how these institutions acquire those objects - it is certainly unethical. For decades, scholars and activists have debated that these institutions should restitute the legacies taken from other lands, objects stolen through wars of aggression and exploitation. Still, these museums deliberately choose to hold them, artifacts that bear little cultural resonance for their current keepers, but profound meaning for the people from whom they were taken.But these debates are no longer confined to academic circles. Take Egypt, for instance. Its long-awaited Grand Museum finally opened its doors three decades after its initial proposal in 1992 and nearly twenty years since construction began in 2005. Now fully operational, breathing fresh life into Egypt’s storied past through showcasing Tutankhamun’s tomb among other relics of the country, it is demanding the return of its legacy. Egypt’s former and famously outspoken Minister of Tourism and Antiquities, Dr. Zahi Hawass, for instance, recently told the BBC: “Now I want two things, number one, museums to stop buying stolen artefacts, and number two, I need three objects to come back: the Rosetta Stone from the British Museum, the Zodiac from the Louvre, and the Bust of Nefertiti from Berlin.” Beyond the direct call-out, Dr. Hawass has initiated online petitions demanding the return of the artifacts, amassing hundreds of thousands of signatures. Nevertheless, the world’s great museums remain silent, and the precious Egyptian treasures are still very much on display.With African, Asian, and Latin American legacies still held captive within Euro-American institutions, the echoes of colonialism linger well into the 21st century, keeping the postcolonial order intact. Even fashion, an industry that loves to believe it exists beyond politics, proves such. Whether through events that claim to celebrate certain things but end up being meaningless, the current Eurocentrism that still dominates the industry, or how many labels still profit from the aesthetics of marginalized nations without acknowledgment, fashion, much like museums, reproduces the very hierarchies postcolonial theory seeks to expose.Ultimately, the British Museum’s latest event does not celebrate Indian culture or Nigerian history through its excavation in Benin City. Like so many Euro-American institutions, it reinforces imperial power - masquerading cultural theft as preservation.In fashion as in museums, spectacle too often conceals empire - and beauty, unexamined, can become complicity."
}
]
}