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If you're tired of censorship and dystopian threats against civil liberties, subscribe to Reclaim The Net. The opening ceremony of the Paris Olympics, characterized by constant rain and technical issues and concluding with the Olympic flag being hung upside down, has sparked controversy and garnered criticism from multiple quarters. However, those looking to criticize the ceremony online have been hit with strict copyright takedown notices from the International Olympic Committee that totally ignore the idea of fair use for commentary and criticism. The ceremony, which extended over four hours, was fraught with gaffes and audio issues, compounded by heavy rain that hindered the performances of international stars like Lady Gaga and the array of 3,000 performers, making it difficult for audiences to see the spectacle. The narrative took an unexpected turn with a sequence designed to emulate the spirit of a festive gathering, mirroring the iconic biblical scene of The Last Supper, as painted by Leonardo da Vinci, but infused with drag performers. This segment, part of a series of artistic expressions named after French values like freedom and equality, featured models, fashion icons, and drag queens, embodying a celebration on a bridge over the Seine that also served as a runway. Elon Musk expressed his disapproval of X, emphasizing that the portrayal was “extremely disrespectful to Christians” and lamenting the perceived decline of Christian cultural influence by stating, “Christianity has become toothless.” The ceremony prominently featuring a rider on a pale horse parading along the river Seine captured significant attention. This striking scene quickly transcended the immediate spectacle, sparking broader conversations online. On X, a user posted a picture of the pale horse and its rider, drawing parallels to ominous imagery from cultural lore. The image and its association with the figure of Death from the Book of Revelation resonated deeply, prompting discussions and interpretations of its symbolic significance at the Olympics. The user’s post echoed apocalyptic themes, remarking, “If you have any doubt what is going on at the Olympics opening ceremony. A single rider on a pale horse is straight out of the book of Revelation,” accompanying the clip with a haunting quote: “And I looked, and behold a pale horse: and the name that sat on him was Death, and Hell followed with him. And power was given unto them over the fourth part of the earth, to kill with sword, and with hunger, and with death, and with the beasts of the earth.” However, these efforts to critique or highlight certain aspects of the ceremony faced a significant roadblock. A number of these posts were quickly hit with copyright strikes, leading to their removal from the platform. This action sparked further discussion among users about the boundaries of fair use, especially in the context of a global event meant for public viewing. The International Olympic Committee has exhibited an increasingly aggressive stance in protecting its copyrighted materials. This protective behavior extends to cracking down on unauthorized sharing of video clips and images, especially when used for criticism or commentary on social media platforms. Critics argue that such stringent enforcement not only curtails fair use but also stifles public discourse surrounding the Olympics. Fair use is a legal doctrine that allows limited use of copyrighted material without permission from the copyright holder, particularly for criticism, commentary, education, and news reporting. This doctrine supports free expression by recognizing that uses like criticism and commentary add new insights or meanings to original works, making them transformative and thus permissible. These uses are essential for fostering public discourse and allowing a critical engagement with cultural and media productions. Elon Musk responded to the censorship saying: “This is overzealous application of DMCA. The law permits limited use of copyrighted material in special circumstances.” The Digital Millennium Copyright Act (DMCA) of 1998, designed to protect copyrights in the digital era, has come under criticism for its “notice-and-takedown” process. This procedure allows copyright holders to request the rapid removal of content they claim infringes their rights, without requiring proof before action is taken. While intended to safeguard intellectual property, it’s often used to aggressively suppress legitimate uses like criticism and commentary, particularly evident in actions taken by organizations like the International Olympic Committee (IOC). This system, skewed in favor of copyright holders, lacks penalties for false claims, leading to potential abuse. Such a setup discourages free expression and can lead to a less informed public discourse about significant events like the Olympics, highlighting a crucial flaw in the DMCA’s structure. Related: How the DMCA has become one of the biggest threats to online speech If you're tired of censorship and dystopian threats against civil liberties, subscribe to Reclaim The Net. The post Copyright Strikes Silence Paris Olympics Critics appeared first on Reclaim The Net.

We have long said that Univision, as a corporate Democrat client, has placed immigration at the apex of the policies it champions, but necessarily promotes the rest of the far-left policy pupu platter. Never has this been on more stark display than in the network’s platforming of a pro-Hamas DACA beneficiary just prior to the violent desecration of D.C.’s Union Station in protest of Benjamin Netanyahu’s recent address before a joint session of Congress.  Watch as D.C. correspondent Edwin Pitti knowingly and willingly platforms bilious anti-American hate: NOTICIERO UNIVISION EDICIÓN DIGITAL 7/24/24 12:07 PM EDWIN PITTI: We’re live on Univision so you can tell me what it means for you, as an immigrant, to be here today. ARLENE: Yes. Good afternoon. As I was telling you before- my name is Arlene, I am an immigrant, I am a DACA beneficiary. And we've been getting these kinds of questions all day about why, as immigrants, we are here. It is very important to show our solidarity with Palestine. We know that the Biden administration truly failed us, they disappointed us when it comes to immigration reform, just as they have been disappointing us with their foreign policies such as the oppression, and funding the war that is going on in Palestine right now, funding Israel's military. PITTI: You don't support that, then. So showing solidarity is important to you. ARLENE: It is super important that we are showing solidarity. We have seen how the United States has created wars in our countries like in El Salvador, the civil war, we have seen the- the disappointment of NAFTA. And we have seen that that technology- the technology that they are developing for Israel against Palestine is the same technology that they are using against us. Our solidarity is important, because our liberation is going to come jointly, because we know that migration and borders have to be torn down so that we can find that liberation. To be clear, Pitti went into that crowd and dug around until he found this gem. In the interest of providing “context” and “background” on a bunch of pro-Hamas rioters that would eventually descent upon Union Station, desecrate it with violent, pro-Hamas graffiti, lower the American flags from Union Station flagpoles prior to burning them, and raise Palestinian flags in their stead. All this, while overrunning and in some cases assaulting United States Park Police and D.C.  By platforming a pro-Hamas DACA recipient, likely brought illegally into the country by her parents, Univision may have inadvertently made the case both for mass deportations and for significant K-University education reform. Going forward, it'll be hard for the network to denounce anyone talking about the demography of mass, unchecked immigration after giving unfiltered airtime to someone bleating about tearing down borders in order to find "liberation".  In the meantime, the networks’ news division, or at least whoever runs the mind-numbing midday newscast, remains a font of anti-American propaganda. Click “expand” to view the full transcript of the aforementioned interview as aired on Noticiero Univision Edicion Digital on Wednesday, July 24th, 2024: BORJA VOCES: We are going to learn a little more about what is expected today, so we are going to go live to the nation’s capital with Edwin Pitti. Edwin, good afternoon. Tell us, go right ahead. EDWIN PITTI: How are you doing, Borja and Carolina. Good afternoon. We are a few blocks from the Capitol and as you can see, the D.C. Metro Police and the Capitol Police have closed five of the main entrances to (the Capitol), precisely to prevent a large number of protesters, more than 1,500 people, from breaking in when he addresses this joint session of Congress . I want to show you how people have begun to gather very early outside the Capitol on this street where there are people who have arrived from different cities across the country. They tell me that the main point of their presence here, especially for Hispanics, is to show that representation and to make it very clear that what undocumented immigrants have suffered in this country, according to them, is what the Palestinians who are being displaced by the policies implemented, precisely, by Benjamin Netanyahu are also experiencing. There are many people who have been gradually arriving here with all kinds of banners, with Palestinian flags, and we, of course, have been here giving them coverage. There is a group here that we’ve been talking to since very early on, and they have many reactions to everything that is going on. We’re live on Univision so you can tell me what it means for you, as an immigrant, to be here today. ARLENE: Yes. Good afternoon. As I was telling you before- my name is Arlene, I am an immigrant, I am a DACA beneficiary. And we've been getting these kinds of questions all day about why, as immigrants, we are here. It is very important to show our solidarity with Palestine. We know that the Biden administration truly failed us, they disappointed us when it comes to immigration reform, just as they have been disappointing us with their foreign policies such as the oppression, and funding the war that is going on in Palestine right now, funding Israel's military. PITTI: You don't support that, then. So showing solidarity is important to you. ARLENE: It is super important that we are showing solidarity. We have seen how the United States has created wars in our countries like in El Salvador, the civil war, we have seen the- the disappointment of NAFTA. And we have seen that that technology- the technology that they are developing for Israel against Palestine is the same technology that they are using against us. Our solidarity is important, because our liberation is going to come jointly, because we know that migration and borders have to be torn down so that we can find that liberation.  PITTI: I want to show you a little more of what is going on here, these banners that showed Netanyahu on the other side with blood on his hands. From over here, you can also see many more people who are gradually becoming part of this massive protest. I'm Edwin Pitti, we're live from Washington D.C. for your "Digital Edition".Back to you in the studio. CAROLINA SARASSA: We will be watching what Netanyahu says or does not say this afternoon. Thanks, Edwin. VOCES: And this is the good thing about democracy, right? People can protest, as we are seeing.  

The Netflix documentary series “How to Become a Tyrant” explores some of history’s biggest villains. Adolf Hitler. Saddam Hussein Joseph Stalin Idi Amin Muammar Gaddafi Director Scott Derrickson thinks there’s another name that should grace that list. President Donald Trump. The director of “Doctor Strange,” “Sinister” and “The Black Phone” weighed in on the 2021 docuseries on X earlier today. He retweeted a post showing Trump describing China’s Xi Jinping as “brilliant,” a phrase taken out of context to suggest Trump wants to lead America in a similar fashion. Derrickson didn’t stop there. He said Trump is following the dictators’ playbook “to the letter.” If re-elected, Trump will follow in the footsteps of modern leaders like Russia’s Vladimir Putin, North Korea’s Kim Jong Un and China’s Xi Jinping, he wrote. And then Derrickson had second thoughts. He deleted the post.  Perhaps he feared the blowback from MAGA Nation. Or, he realized this kind of unhinged rhetoric is suddenly frowned upon days after a failed assassination attempt on Trump. Yet a short time later he shared a post with a strikingly similar message. If anyone wants to see the Trump playbook, watch "How to become a Tyrant" on Netflix. It is so similar in every way to what has happened in this country, it is FRIGHTENING. I think it should be mandatory to watch it! The roadmap Trump is using is clear. — Sharon Loeff (@sharon_loeff) January 27, 2023 President Trump had four full years to embrace his inner Hitler. No “lawfare”-style attacks on his political opponents. No wide-scale efforts to silence dissent on social media. And, most importantly, no new wars. If only more western leaders could say the same. Derrickson is far from alone in drawing the Trump-Hitler comparison. The list of Hollywood artists who have done the same is considerable, including: James Gunn Sarah Silverman Louis CK Ellen Barkin Robert De Niro Michael Moore Pedro Pascal Kirk Douglas John Cleese Derrickson previously slammed Trump fans as racist, despite the candidate’s ability to expand the GOP’s outreach to people of color.

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Francesco Perono Cacciafoco/The Conversation If you pay a visit to the Singapore Stone, displayed at the National Museum of Singapore, you might be disappointed. That’s because the inscription – carrying an unknown writing system transcribing an unknown language – is fading. But if you love puzzles, this won’t put you off. The stone is a fragment of a bigger slab, once welcoming visitors at the mouth of the Singapore River. The British blew it up in 1843, to build a fort. Discovered in 1819, the stone was almost entirely lost. Scottish military officer Lieutenant-Colonel James Low, amid general indifference, was able to save three fragments. He sent them to the Royal Asiatic Society’s Museum in Calcutta to be studied. They arrived in 1848. Meanwhile, other parts of the stone disappeared in the island. In 1918, the Raffles Museum of Singapore asked Calcutta to return the fragments. Only one was sent back. Nothing is known about the others, which are possibly lost forever. Despite its name, this sandstone slab is not a simple “stone”. It was once part of a monument, an ancient epigraph measuring three-by-three meters and carrying about 50 lines of text. Read moreSection: ArtifactsAncient WritingsNewsHistory & ArchaeologyRead Later 

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