#Pakistan import products

[dresshistorynerd]

The Real Cost of the Fashion Industry

Atacama Desert, in Alto Hospicio, Iquique, Chile. (source)

The textile industry is destroying the world. The industry is wasting massive amounts of energy and materials, and polluting the air, the ground and the water supplies. It overwhelmingly exploits it's labour and extracts wealth from colonized countries, especially in Asia. I assume we all broadly understand this, but I think it's useful to have it all laid out in front of you to see the big picture, the core issues causing this destruction and find ways how to effectively move forward.

The concerning trend behind this ever-increasing devastation are shortening of trend cycles, lowering clothing prices and massive amount of wasted products. Still in year 2000 it was common for fashion brands to have two collections per year, while now e.g. Zara produces 24 collections and H&M produces 12-16 collections per year. Clothing prices have fallen (at leas in EU) 30% from 1996 to 2018 when adjusted to inflation, which has contributed to the 40% increase in clothing consumption per person between 1996 and 2012 (in EU). (source) As the revenue made by the clothing industry keep rising - from 2017 to 2021 they doubled (source) - falling prices can only be achieved with increasing worker exploitation and decreasing quality. I think the 36% degrees times clothing are used in average during the last 15 years (source) is a clear indication on the continuing drop in quality of clothing. Clothing production doubled between 2000 and 2015, while 30% of the clothes produced per year are never sold and are often burned instead (source), presumably to prevent the returns from falling due to oversupply.

These all factors are driving people to overconsume. While people in EU keep buying more clothes, they haven't used up to 50% of the clothes in their wardrobe for over a year (source). This overconsumption is only made much worse by the new type of hyper fast fashion companies like SHEIN and Temu, which are using addictive psychological tactics developed by social media companies (source 1, source 2). They are cranking up all those concerning trends I mentioned above.

Under the cut I will go through the statistics of the most significant effects of the industry on environment and people. I will warn you it will be bleak. This is not just a fast fashion problem, basically the whole industry is engaging in destructive practices leading to this damage. Clothing is one of those things that would be actually relatively easy to make without massive environmental and human cost, so while that makes the current state of the industry even more heinous, it also means there's hope and it's possible to fix things. In the end, I will be giving some suggestions for actions we could be doing right now to unfuck this mess.

Carbon emissions

The textile industry is responsible for roughly 10% of the global CO2 emissions, more than aviation and shipping industry combined. This is due to the massive supply chains and energy intensive production methods of fabrics. Most of it can be contributed to the fashion sector since around 60% of all the textile production is clothing. Polyester, a synthetic fiber made from oil which accounts for more than half of the fibers used in the textile industry, produces double the amount of carbon emissions than cotton, accounting for very large proportions of all the emissions by the industry. (source 1, source 2)

Worker exploitation

Majority of the textiles are produced in Asia. Some of the worst working conditions are in Bangladesh, one of the most important garment producers, and Pakistan. Here's an excerpt from EU Parliament's briefing document from 2014 after the catastrophic Rana Plaza disaster:

The customers of garment producers are most often global brands looking for low prices and tight production timeframes. They also make changes to product design, product volume, and production timeframes, and place last-minute orders without accepting increased costs or adjustments to delivery dates. The stresses of such policies usually fall on factory workers.

The wage exploitation is bleak. According to the 2015 documentary The True Cost less than 2% of all garment factory workers earned a living wage (source). Hourly wages are so low and the daily quotas so high, garment workers are often forced through conditions or threats and demand to work extra hours, which regularly leads to 10-12 hour work days (source) and at worst 16 hour workdays (source), often without days off. Sometimes factories won't compensate for extra hours, breaching regulations (source).

Long working hours, repetitive work, lack of breaks and high pressure leads to increased risks of injuries and accidents. Small and even major injuries are extremely common in the industry. A study in three factories in India found that 70% of the workers suffered from musculosceletal symptoms (source). Another qualitative study of female garment workers and factory doctors in Dhaka found that long hours led to eye strain, headaches, fatigue and weight loss in addition to muscular and back pains. According to the doctors interviewed, weight loss was common because the workers work such long hours without breaks, they didn't have enough time to eat properly. (source) Another study in 8 factories in India found that minor injuries were extremely common and caused by unergonomic work stations, poor organization in the work place and lack of safety gear, guidelines and training (source). Safety precautions too are often overlooked to cut corners, which periodically leads to factory accidents, like in 2023 lack of fire exists and fire extinguishers, and goods stacked beyond capacity led to a factory fire in Pakistan which injured dozens of workers (source) or like in 2022 dangerous factory site led to one dead worker and 9 injured workers (source).

Rana Plaza collapse in 2013 is the worst industrial accident in recent history. The factory building did not have proper permits and the factory owner blatantly ignored signs of danger (other businesses abandoned the building a day before the collapse), which led to deaths of 1 134 workers and injuries to 2 500 workers. The factory had or were at the time working for orders of at least Prada, Versace, Primark, Walmart, Zara, H&M, C&A, Mango, Benetton, the Children's Place, El Corte Inglés, Joe Fresh, Carrefour, Auchan, KiK, Loblaw, Bonmarche and Matalan. None of the brands were held legally accountable for the unsafe working conditions which they profited off of. Only 9 of the brands attended a meeting to agree on compensation for the victim's families. Walmart, Carrefour, Auchan, Mango and KiK refused to sight the agreement, it was only signed by Primark, Loblaw, Bonmarche and El Corte Ingles. The compension these companies provided was laughable though. Primemark demanded DNA evidence that they are relatives of one of the victims from these struggling families who had lost their often sole breadwinner for a meager sum of 200 USD (which doesn't even count for two months of living wage in Bangladesh (source)). This obviously proved to be extremely difficult for most families even though US government agreed to donate DNA kits. This is often said to be a turning point in working conditions in the industry, at least in Bangladesh, but while there's more oversight now, as we have seen, there's clearly still massive issues. (source 1, source 2)

One last major concern of working conditions in the industry I will mention is the Xinjiang raw cotton production, which is likely produced mainly with forced labour from Uighur concentration camps, aka slave labour of a suspected genocide. 90% of China's raw cotton production comes from Xinjiang (source). China is the second largest cotton producer in the world, after India, accounting 20% of the yearly global cotton production (source).

Pollution

Synthetic dyes, which synthetic fibers require, are the main cause of water pollution caused by the textile industry, which is estimated to account for 20% of global clean water pollution (source). This water pollution by the textile industry is suspected of causing a lot of health issues like digestive issues in the short term, and allergies, dermatitis, skin inflammation, tumors and human mutations in the long term. Toxins also effect fish and aquatic bacteria. Azo dyes, one of the major pollutants, can cause detrimental effects to aquatic ecosystems by decreasing photosynthetic activity of algae. Synthetic dyes and heavy metals also cause large amounts of soil pollution. Large amounts of heavy metals in soil, which occurs around factories that don't take proper environmental procautions, can cause anaemia, kidney failure, and cortical edoem in humans. That also causes changes in soil texture, decrease in soil microbial diversity and plant health, and changes in genetic structure of organisms growing in the soil. Textile factory waste water has been used for irrigation in Turkey, where other sources of water have been lacking, causing significant damage to the soil. (source)

Rayon produced through viscose process causes significant carbon disulphide and hydrogen sulphide pollution to the environment. CS2 causes cardiovascular, psychiatric, neuropsychological, endocrinal and reproductive disorders. Abortion rates among workers and their partners exposed to CS2 are reported to be significantly higher than in control groups. Many times higher amounts of sick days are reported for workers in spinning rooms of viscose fiber factories. China and India are largest producers of CS2 pollution, accounting respectively 65.74% and 11,11% of the global pollution, since they are also the major viscose producers. Emission of CS2 has increased significantly in India from 26.8 Gg in 2001 to 78.32 Gg in 2020. (source)

Waste

The textile industry is estimated to produce around 92 million tons of textile waste per year. As said before around 30% of the production is never sold and with shortening lifespans used the amount of used clothing that goes to waster is only increasing. This waste is large burned or thrown into landfills in poor countries. (source) H&M was accused in 2017 by investigative journalists of burning up to 12 tonnes of clothes per year themselves, including usable clothing, which they denied claiming they donated clothing they couldn't sell to charity instead (source). Most of the clothing donated to charity though is burned or dumbed to landfills (source).

Most of the waste clothing from rich countries like European countries, US, Australia and Canada are shipped to Chile (source) or African countries, mostly Ghana, but also Burkina Faso and Côte d'Ivoire (source). There's major second-hand fashion industries in these places, but most of the charity clothing is dumbed to landfills, because they are in such bad condition or the quality is too poor. Burning and filling landfills with synthetic fabrics with synthetic dyes causes major air, water and soil pollution. The second-hand clothing industry also suppresses any local clothing production as donated clothing is inherently more competitive than anything else, making these places economically reliant on dumbed clothing, which is destroying their environment and health, and prevents them from creating a more sustainable economy that would befit them more locally. This is not an accident, but required part of the clothing industry. Overproduction let's these companies tap on every new trend quickly, while not letting clothing the prices in rich countries drop so low it would hurt their profits. Production is cheaper than missing a trend.

Micro- and nanoplastics

There is massive amounts of micro- and nanoplastics in all of our environment. It's in our food, drinking water, even sea salt (source). Washing synthetic textiles accounts for roughly 35% of all microplastics released to the environment. It's estimated that it has caused 14 million tonnes of microplastics to accumulate into the bottom of the ocean. (source)

Microplastics build up into the intestines of animals (including humans), and have shown to probably cause cause DNA damage and altered organism behavior in aquatic fauna. Microplastics also contain a lot of the usual pollutants from textile industry like synthetic dyes and heavy metals, which absorb in higher quantities to tissues of animals through microplastics in the intestines. Studies have shown that the adverse effect are higher the longer the microplastics stay in the organism. The effects cause major risks to aquatic biodiversity. (source) The health effects of microplastics to humans are not well known, but studies have shown that they could have adverse effects on digestive, respiratory, endocrine, reproductive and immune systems. (source)

Microplastics degrade in the environment even further to nanoplastics. Nanoplastic being even smaller are found to enter blood circulation, get inside cells and cross the blood-brain barrier. In fishes they have been found to cause neurological damage. Nanoplastics are also in the air, and humans frequently breath them in. Study in office buildings found higher concentration of nanoplastics in indoor air than outdoor air. Inside the nanoplastics are likely caused mostly by synthetic household textiles, and outdoors mostly by car tires. (source) An association between nanoplastics and mitochondrial damage in human respiratory cells was found in a recent study. (source)

Micro and nano plastics are also extremely hard to remove from the environment, making it even more important that we reduce the amount of microplastics we produce as fast as possible.

What can we do?

This is a question that deserves it's own essays and articles written about it, but I will leave you with some action points. Reading about these very bleak realities can easily lead to overwhelming apathy, but we need to channel these horrors into actions. Whatever you do, do not fall into apathy. We don't have the luxury for that, we need to act. These are industry wide problems, that simply cannot be fixed by consumerism. Do not trust any clothing companies, even those who market themselves as ethical and responsible, always assume they are lying. Most of them are, even the so called "good ones". We need legislation. We cannot allow the industry to regulate itself, they will always take the easy way out and lie to their graves. I will for sure write more in dept about what we can do, but for now here's some actions to take, both political and individual ones.

Political actions

Let's start with political actions, since they will be the much more important ones. While we are trying to dismantle capitalism and neocolonialism (the roots of these issues), here's some things that we could do right now. These will be policies that we should be doing everywhere in the world, but especially rich countries, where most of the clothing consumption is taking place. Vote, speak to others, write to your representative, write opinion pieces to your local papers, engage with democracy.

Higher requirements of transparency. Right now product transparency in clothing is laughably low. In EU only the material make up and the origin country of the final product are required to be disclosed. Everything else is up to the company. Mandatory transparency is the only way we can force any positive changes in the production. The minimum of transparency should be: origin countries of the fibers and textiles in the product itself; mandatory reports of the lifecycle emissions; mandatory reports of whole chain of production. Right now the clothing companies make their chain of production intentionally complex, so they have plausible deniability when inevitably they are caught violating environmental or worker protection laws (source). They intentionally don't want to be able to track down their production chain. Forcing them to do so anyway would make it very expensive for them to keep up this unnecessarily complex production chain. These laws are most effective when put in place in large economies like EU or US.

Restrictions on the use of synthetic fibers. Honestly I think they should be banned entirely, since the amount of microplastics in our environment is already extremely distressing and the other environmental effects of synthetic fibers are also massive, but I know there are functions for which they are not easily replaced (though I think they can be replaces in those too, but that's a subject of another post), so we should start with restrictions. I'm not sure how they should be specifically made, I'm not a law expert, but they shouldn't be used in everyday textiles, where there are very easy and obvious other options.

Banning viscose. There are much better options for viscose method that don't cause massive health issues and environmental destruction where ever it's made, like Lyocell. There is absolutely no reason why viscose should be allowed to be sold anywhere.

Governmental support for local production by local businesses. Most of the issues could be much more easily solved and monitored if most clothing were not produced by massive global conglomerations, but rather by local businesses that produce locally. All clothing are made by hand, so centralizing production doesn't even give it advantage in effectiveness (only more profits for the few). Producing locally would make it much more easier to enforce regulations and it would reduce production chains, making production more effective, leaving more profits into the hands of the workers and reducing emissions from transportation. When the production is done by local businesses, the profits would stay in the producing country and they could be taxed and utilized to help the local communities. This would be helpful to do in both exploited and exploiter countries. When done in rich countries who exploit poorer ones, it would reduce the demand for exploitation. In poor countries this is not as easily done, since poor means they don't have money to give around, but maybe this could be a good cause to put some reparations from colonizers and global corporations, which they should pay.

Preventing strategic accounting between subsidiaries and parent companies. Corporate law is obviously not my area of expertise, but I know that allowing corporations to move around the accounting of profits and losses between subsidiaries and parent companies in roughly 1980s, was a major factor in creating this modern global capitalist system, where corporations can very easily manipulate their accounting to utilize tax heavens and avoid taxes where they actually operate, which is how they are upholding this terrible system and extracting the profits from the production countries. How specifically this would be done I can't tell because again I know shit about corporate law, so experts of that field should plan the specifics. Overall this would help deal with a lot of other problems than just the fashion industry. Again for it to be effective a large economic area like EU or US should do this.

Holding companies accountable for their whole chain of production. These companies should be dragged to court and made to answer for the crimes they are profiting of off. We should put fear back into them. This is possible. Victims of child slavery are already doing this for chocolate companies. If it's already not how law works everywhere, the laws should be changed so that the companies are responsible even if they didn't know, because it's their responsibility to find out and make sure they know. They should have been held accountable for the Rana Plaza disaster. Maybe they still could be. Sue the mother fuckers. They should be afraid of us.

Individual actions

I will stress that the previous section is much more important and that there's no need to feel guilty for individual actions. This is not the fault of the average consumer. Still we do need to change our relationship to fashion and consumption. While it's not our fault, one of the ways this system is perpetuated, is by the consumerist propaganda by fashion industry. And it is easier to change our own habits than to change the industry, even if our own habits have little impact. So these are quite easy things we all could do as we are trying to do bigger change to gain some sense of control and keep us from falling to apathy.

Consume less. Better consumption will not save us, since consumption itself is the problem. We consume too much clothing. Don't make impulse purchases. Consider carefully weather you actually need something or if you really really want it. Even only buying second-hand still fuels the industry, so while it's better than buying new, it's still better to not buy.

Take proper care of your clothing. Learn how to properly wash your clothing. There's a lot of internet resources for that. Never wash your wool textiles in washing machine, even if the textile's official instructions allow it. Instead air them regularly, rinse them in cool water if they still smell after airing and wash stains with water or small amount of (wool) detergent. Never use fabric softener! It damages the fabrics, prevents them from properly getting clean and is environmentally damaging. Instead use laundry vinegar for making textiles softer or removing bad smells. (You can easily make laundry vinegar yourself too from white vinegar and water (and essential oils, if you want to add a scent to it) which is much cheaper.) Learn how to take care of your leather products. Most leather can be kept in very good condition for a very long time by occasional waxing with beeswax.

Use the services of dressmakers and shoemakers. Take your broken clothing or clothing which doesn't fit anymore to your local dressmaker and ask them if they can do something about it. Take your broken and worn leather products to your local shoemaker too. Usually it doesn't cost much to get something fixed or refitted and these expert usually have ways to fix things you couldn't even think of. So even if the situation with your clothing or accessory seems desperate, still show it to the dressmaker or shoemaker.

If it's extremely cheap, don't buy it. Remember that every clothing is handmade. Only a small fraction of the cost of the clothing will be paying the wages of the person who made it with their hands. If a shirt costs 5 euros (c. 5,39 USD), it's sewer was only payed mere cents for sewing it. I'm not a quick sewer and it takes me roughly 1-2 hours to cut, prepare and sew a simple shirt, so I'm guessing it would take around half an hour to do all that for a factory worker on a crunch, at the very least 15 minutes. So the hourly pay would still be ridiculously low. However, as I said before, the fact that the workers in clothing factories get criminally low pay is not the fault of the consumer, so if you need a clothing item, and you don't have money to buy anything else than something very cheep, don't feel guilty. And anyway expensive clothing in no way necessarily means reasonable pay or ethical working conditions, cheep clothing just guarantee them.

Learn to recognize higher quality. In addition to exploitation, low price also means low quality, but again high price doesn't guarantee high quality. High quality allows you to buy less, so even if it's not as cheep as low quality, if you can afford it, when you need it, it will be cheaper in long run, and allows you to consume less. Check the materials. Natural fibers are your friends. Do not buy plastic, if it's possible to avoid. Avoid household textiles from synthetic fibers. Avoid textiles with small amounts of spandex to give it stretch, it will shorten the lifespan of the clothing significantly as the spandex quickly wears down and the clothing looses it's shape. Also avoid clothing with rubber bands. They also loose their elasticity very quickly. In some types of clothing (sport wear, underwear) these are basically impossible to avoid, but in many other cases it's entirely possible.

Buy from artisans and local producers, if you can. As said better consumption won't fix this, but supporting artisans and your local producers could help keep them afloat, which in small ways helps create an alternative to the exploitative global corporations. With artisans especially you know the money goes to the one who did the labour and buying locally means less middlemen to take their cut. More generally buy rather from businesses that are located to the same country where the production is, even if it's not local to you. A local business doesn't necessarily produce locally.

Develop your own taste. If you care about fashion and style, it's easy to fall victim to the fashion industry's marketing and trend cycles. That's why I think it's important to develop your personal sense of style and preferences. Pay attention at what type of clothes are comfortable to you. Go through your wardrobe and track for a while which clothing you use most and which least. Understanding your own preferences helps you avoid impulse buying.

Consider learning basics of sewing. Not everyone has the time or interest for this, but if you in anyway might have a bit of both, I suggest learning some very simple and basic mending and reattaching a button.

Further reading on this blog: How to see through the greenwashing propaganda of the fashion industry - Case study 1: Shein

Bibliography

Academic sources

An overview of the contribution of the textiles sector to climate change, 2022, L. F. Walter et al., Frontiers in Environmental Science

How common are aches and pains among garment factory workers? A work-related musculoskeletal disorder assessment study in three factories of south 24 Parganas district, West Bengal, 2021, Arkaprovo Pal et al., J Family Med Prim Care

Sewing shirts with injured fingers and tears: exploring the experience of female garment workers health problems in Bangladesh, 2019, Akhter, S., Rutherford, S. & Chu, C., BMC Int Health Hum Rights

Occupation Related Accidents in Selected Garment Industries in Bangalore City, 2006, Calvin, Sam & Joseph, Bobby, Indian Journal of Community Medicine

A Review on Textile and Clothing Industry Impacts on The Environment, 2022, Nur Farzanah Binti Norarmi et al., International Journal of Academic Research in Business and Social Sciences

Carbon disulphide and hydrogen sulphide emissions from viscose fibre manufacturing industry: A case study in India, 2022, Deepanjan Majumdar et al., Atmospheric Environment: X

Microplastics Pollution: A Brief Review of Its Source and Abundance in Different Aquatic Ecosystems, 2023, Asifa Ashrafy et al., Journal of Hazardous Materials Advances

Health Effects of Microplastic Exposures: Current Issues and Perspectives in South Korea, 2023, Yongjin Lee et al., Yonsei Medical Journal

Nanoplastics and Human Health: Hazard Identification and Biointerface, 2022, Hanpeng Lai, Xing Liu, and Man Qu, Nanomaterials

Other sources

The impact of textile production and waste on the environment (infographics), 2020, EU

Chile’s desert dumping ground for fast fashion leftovers, 2021, AlJazeera

Fashion - Worldwide, 2022 (updated 2024), Statista

Fashion Industry Waste Statistics & Facts 2023, James Evans, Sustainable Ninja (magazine)

Everything You Need to Know About Waste in the Fashion Industry, 2024, Solene Rauturier, Good on You (magazine)

Textiles and the environment, 2022, Nikolina Šajn, European Parliamentary Research Service

Help! I'm addicted to secondhand shopping apps, 2023, Alice Crossley, Cosmopolitan

Addictive, absurdly cheap and controversial: the rise of China’s Temu app, 2023, Helen Davidson, Guardian

Workers' conditions in the textile and clothing sector: just an Asian affair? - Issues at stake after the Rana Plaza tragedy, 2014, Enrico D'Ambrogio, European Parliamentary Research Service

State of The Industry: Lowest Wages to Living Wages, The Lowest Wage Challenge (Industry affiliated campaign)

Fast Fashion Getting Faster: A Look at the Unethical Labor Practices Sustaining a Growing Industry, 2021, Emma Ross, International Law and Policy Brief (George Washington University Law School)

Dozens injured in Pakistan garment factory collapse and fire, 2023, Hannah Abdulla, Just Style (news media)

India: Multiple factory accidents raise concerns over health & safety in the garment industry, campaigners call for freedom of association in factories to ‘stave off’ accidents, 2022, Jasmin Malik Chua, Business & Human Rights Resource Center

Minimum Wage Level for Garment Workers in the World, 2020, Sheng Lu, FASH455 Global Apparel & Textile Trade and Sourcing (University of Delaware)

Rana Plaza collapse, Wikipedia

Buyers’ compensation for Rana Plaza victims far from reality, 2013, Ibrahim Hossain Ovi, Dhaka Tribune (news media)

World cotton production statistics, updated 2024, The World Counts

Dead white man’s clothes, 2021, Linton Besser, ABC News

[reasonsforhope]

"Nasir Mansoor has spent 40 years fighting for Pakistan’s workers. Whether demanding compensation on behalf of the hundreds of people who died in a devastating 2012 factory fire in Karachi or demonstrating against Pakistani suppliers to global fashion brands violating minimum wage rules, he’s battled many of the country’s widespread labor injustices.

Yet so far, little has improved, said Mansoor, who heads Pakistan’s National Trade Union Federation in Karachi... Regulations and trade protocols look good on paper, but they rarely trickle down to the factory level. “Nobody cares,” Mansoor said. “Not the government who makes commitments, not the brands, and not the suppliers. The workers are suffering.”

Change on the Horizon

But change might finally be on the horizon after Germany’s new Supply Chain Act came into force last year. As Europe’s largest economy and importer of clothing, Germany now requires certain companies to put risk-management systems in place to prevent, minimize, and eliminate human rights violations for workers across their entire global value chains. Signed into law by German Chancellor Olaf Scholz in January 2023, the law covers issues such as forced labor, union-busting, and inadequate wages, for the first time giving legal power to protections that were previously based on voluntary commitments. Companies that violate the rules face fines of up to 8 million euros ($8.7 million)...

...As governments come to realize that a purely voluntary regimen produces limited results, there is now a growing global movement to ensure that companies are legally required to protect the people working at all stages of their supply chains.

The German law is just the latest example of these new due diligence rules—and it’s the one with the highest impact, given the size of the country’s market. A number of other Western countries have also adopted similar legislation in recent years, including France and Norway. A landmark European Union law that would mandate all member states to implement similar regulation is in the final stages of being greenlighted.

Although the United States has legislation to prevent forced labor in its global supply chains, such as the 2021 Uyghur Forced Labor Prevention Act, there are no federal laws that protect workers in other countries from abuses that fall short of forced labor. That said, a proposed New York state bill, the Fashion Act, would legally require most major U.S. and international brands to identify, prevent, and remediate human rights violations in their supply chain if passed, with noncompliance subject to fines. Since major fashion brands could hardly avoid selling their products in New York, the law would effectively put the United States on a similar legal level as Germany and France...

The Results So Far

As of January, Germany’s new law applies to any company with at least 1,000 employees in the country, which covers many of the world’s best-known fast fashion retailers, such as Zara and Primark. Since last January [Jan 2023], German authorities say they have received 71 complaints or notices of violations and conducted 650 of their own assessments, including evaluating companies’ risk management.

In Pakistan, the very existence of the German law was enough to spark action. Last year, Mansoor and other union representatives reached out to fashion brands that sourced some of their clothing in Pakistan to raise concerns about severe labor violations in garment factories. Just four months later, he and his colleagues found themselves in face-to-face meetings with several of those brands—a first in his 40-year career. “This is a big achievement,” he said. “Otherwise, [the brands] never sit with us. Even when the workers died in the factory fire, the brand never sat with us.” ...

-via The Fuller Project, April 2, 2024. Article headers added by me.

Article continues below, with more action-based results, including one factory that "complied, agreeing to respect minimum wages and provide contract letters, training on labor laws, and—for the first time—worker bonuses"

With the help of Mansoor and Zehra Khan, the general secretary of the Home-Based Women Workers Federation, interviews with more than 350 garment workers revealed the severity of long-known issues.

Nearly all workers interviewed were paid less than a living wage, which was 67,200 Pakistan rupees (roughly $243) per month in 2022, according to the Asia Floor Wage Alliance. Nearly 30 percent were even paid below the legal minimum wage of 25,000 Pakistani rupees per month (roughly $90) for unskilled workers. Almost 100 percent had not been given a written employment contract, while more than three-quarters were either not registered with the social security system—a legal requirement—or didn’t know if they were.

When Mansoor, Khan, and some of the organizations raised the violations with seven global fashion brands implicated, they were pleasantly surprised. One German retailer reacted swiftly, asking its supplier where the violations had occurred to sign a 14-point memorandum of understanding to address the issues. (We’re unable to name the companies involved because negotiations are ongoing.) The factory complied, agreeing to respect minimum wages and provide contract letters, training on labor laws, and—for the first time—worker bonuses.

In February [2024], the factory registered an additional 400 workers with the social security system (up from roughly 100) and will continue to enroll more, according to Khan. “That is a huge number for us,” she said.

It’s had a knock-on effect, too. Four of the German brand’s other Pakistani suppliers are also willing to sign the memorandum, Khan noted, which could impact another 2,000 workers or so. “The law is opening up space for [the unions] to negotiate, to be heard, and to be taken seriously,” said Miriam Saage-Maass, the legal director at ECCHR.

Looking Forward with the EU

...Last month [in March 2024], EU member states finally approved a due diligence directive after long delays, during which the original draft was watered down. As it moves to the next stage—a vote in the European Parliament—before taking effect, critics argue that the rules are now too diluted and cover too few companies to be truly effective. Still, the fact that the EU is acting at all has been described as an important moment, and unionists such as Mansoor and Khan wait thousands of miles away with bated breath for the final outcome.

Solidarity from Europe is important, Khan said, and could change the lives of Pakistan’s workers. “The eyes and the ears of the people are looking to [the brands],” Mansoor said. “And they are being made accountable for their mistakes.”"

-via The Fuller Project, April 2, 2024. Article headers added by me.

[rjzimmerman]

Excerpt from this Op-Ed from the New York Times:

At first glance, Xi Jinping seems to have lost the plot.

China’s president appears to be smothering the entrepreneurial dynamism that allowed his country to crawl out of poverty and become the factory of the world. He has brushed aside Deng Xiaoping’s maxim “To get rich is glorious” in favor of centralized planning and Communist-sounding slogans like “ecological civilization” and “new, quality productive forces,” which have prompted predictions of the end of China’s economic miracle.

But Mr. Xi is, in fact, making a decades-long bet that China can dominate the global transition to green energy, with his one-party state acting as the driving force in a way that free markets cannot or will not. His ultimate goal is not just to address one of humanity’s most urgent problems — climate change — but also to position China as the global savior in the process.

It has already begun. In recent years, the transition away from fossil fuels has become Mr. Xi’s mantra and the common thread in China’s industrial policies. It’s yielding results: China is now the world’s leading manufacturer of climate-friendly technologies, such as solar panels, batteries and electric vehicles. Last year the energy transition was China’s single biggest driver of overall investment and economic growth, making it the first large economy to achieve that.

This raises an important question for the United States and all of humanity: Is Mr. Xi right? Is a state-directed system like China’s better positioned to solve a generational crisis like climate change, or is a decentralized market approach — i.e., the American way — the answer?

How this plays out could have serious implications for American power and influence.

Look at what happened in the early 20th century, when fascism posed a global threat. America entered the fight late, but with its industrial power — the arsenal of democracy — it emerged on top. Whoever unlocks the door inherits the kingdom, and the United States set about building a new architecture of trade and international relations. The era of American dominance began.

Climate change is, similarly, a global problem, one that threatens our species and the world’s biodiversity. Where do Brazil, Pakistan, Indonesia and other large developing nations that are already grappling with the effects of climate change find their solutions? It will be in technologies that offer an affordable path to decarbonization, and so far, it’s China that is providing most of the solar panels, electric cars and more. China’s exports, increasingly led by green technology, are booming, and much of the growth involves exports to developing countries.

From the American neoliberal economic viewpoint, a state-led push like this might seem illegitimate or even unfair. The state, with its subsidies and political directives, is making decisions that are better left to the markets, the thinking goes.

But China’s leaders have their own calculations, which prioritize stability decades from now over shareholder returns today. Chinese history is littered with dynasties that fell because of famines, floods or failures to adapt to new realities. The Chinese Communist Party’s centrally planned system values constant struggle for its own sake, and today’s struggle is against climate change. China received a frightening reminder of this in 2022, when vast areas of the country baked for weeks under a record heat wave that dried up rivers, withered crops and was blamed for several heatstroke deaths.

[probablyasocialecologist]

If Ugandans have a social safety net, it is woven from banana fibers, and if there is a clear path to socialism, it will be lined with banana leaves. The lusuku model, premised on intercropping and smallholder farming, could be the basis for national agrarian reform that improves the lives of Uganda’s agricultural workers without accelerating the destruction of the natural environment. Uganda faces increasing difficulty feeding itself because of climate extremes and land degradation, and this affects farmers more significantly than anyone else. Moreover, since the 1990s, the ruling National Resistance Movement regime sold off and dismantled most of the coffee, tea, and cotton growers cooperatives, leaving smallholder farmers in the hands of the predatory middlemen which cooperatives had been established to protect them against. Unable to collectively bargain and exposed to dramatic fluctuations in the market prices for cash crops, many people left rural areas to search for employment in cities. This has been a driving force behind the massive inequality between rural and urban workers. Ugandans now produce more food than they consume, even exporting to other countries in the region, yet 41% of people are undernourished, and agricultural production has decreased over the last 20 years. For the most part, the strategy pursued by Uganda’s government has been to encourage the development of ecologically disastrous intensive agriculture for export, privileging foreign investors rather than developing the infrastructure that would benefit peasants. Indeed, while more than 70% of Ugandans are employed in agriculture, the sector only receives around 4% of public investment, and projects aimed at helping smallholder farmers have had very little success, even by their own standards. Many of the government’s investments in agriculture very clearly advantage larger landowners, to the detriment of the poorest farmers. For example, most of the government’s investment in labor-saving technologies has been spent on tractors, which are great for large plots but largely unaffordable or unsuitable for the average farmer, whose plot is usually between 1-3 acres large. However, a socialist transition premised on agroecological reforms could make use of the existing lusuku model to create the kind of growth that actually improves poor farmers’ lives without destroying their environment. This could begin with reestablishing cooperatives and engineering agricultural prices around social needs and goals, like guaranteeing access to food. Research from around the world has shown that while large, monocrop plantations are good at producing huge volumes of one crop, smallholder farms are more productive when evaluated on a per-unit area and are capable of securing national food sovereignty. Why, for example, should Ugandans buy rice imported from Pakistan or Vietnam when banana intercropping yields more calories per hectare than rice? Lusukus could feed the nation without relying on foreign experts, development aid, or the capital-intensive inputs now being imported to grow for export. Because lusukus are far better for the soil, they also improve the nation’s capacity to resist severe floods and drought, effects of climate change that hit poor farmers hardest. In these ways, the lusuku model could provide a sustainable path to socialist development.

[zvaigzdelasas]

Turkey has discreetly imposed a comprehensive ban on the export of weapons and defence-related items to India, one of the world’s leading arms importers, to show its support for Pakistan, India’s main rival in South Asia.[...]

“India, for example, is one of the world’s top five arms importers, a massive market, importing close to $100 billion. However, due to our political circumstances and our friendship with Pakistan, our Ministry of Foreign Affairs does not give us positive feedback on exporting any products to India, and consequently, we do not grant any permits to our companies in this regard,” he said.[...]

Turkey and India are at odds over a proposed initiative introduced by India, the United States and the European Union at the G20 leaders’ summit in New Delhi on September 9, 2023. The initiative seeks to establish a substantial economic corridor linking Europe with the Middle East and India via rail and sea routes. It aims to connect India, Saudi Arabia, the United Arab Emirates (UAE), Jordan, Israel and the EU through strategically placed shipping ports and an extensive railway network.

Excluded from this corridor, Turkey openly expressed discomfort with the initiative, which it believes undermines its role as a trade hub and favors Greece and other regional competitors. Instead, Turkey supports China’s expansive Belt and Road projects.

Ankara is also advancing the realization of an alternative route, known as the Development Road, which aims to connect Europe and the Middle East through Turkey. “We say there can be no corridor without Turkey. The most suitable route for traffic from east to west must pass through Turkey,” said Erdogan on his return flight from India last year.

Erdogan said they are discussing a corridor that goes from Iraq, Qatar and Abu Dhabi through Turkey to Europe. The corridor is a 1,200-kilometer (745-mile) transportation route comprising railways, motorways and pipelines. It will stretch from Iraq’s Faw Port in Basra to the Turkish port of Mersin and is estimated to cost $20 billion.

Turkey’s anti-Indian policies have prompted New Delhi to seek alliances with countries where Turkey faces challenges in its neighborhood, such as Greece, Cyprus and Armenia, in order to send a message to Ankara that it is prepared to play hardball. As a result, security, military and intelligence cooperation among India, Greece, Cyprus and Armenia has been significantly enhanced in recent years.

18 Jul 24

[doamarierose-honoka]

Ten years ago, musician Usman Riaz grabbed a pencil and started to sketch.

He might have hoped, but didn't know at the time, that it would start him on a path to making history.

That initial drawing became The Glassworker - Pakistan's first ever hand-drawn animated feature film.

It follows the story of young Vincent and his father Tomas, who run a glass workshop, and a war that threatens to upend their lives.

Vincent's relationship with violinist Alliz, the daughter of a military colonel, begins to test the bond between father and son.

Usman tells BBC Asian Network the characters ultimately come to learn "that life is beautiful but fragile, like glass”.

He describes The Glassworker as an "anti-war film" set in an ambiguous and fantastical world that takes inspiration from his home country.

“I wanted to tackle issues and themes that would have been difficult to tackle if it was based in Pakistan," he says.

The country doesn't have the thriving film industry of neighbouring India and there is no government support or incentive for budding creatives like Usman.

So The Glassworker was a passion project, he says.

“These 10 years for me have just been purely driven with passion and obsession.

“Since I was a child, I have loved hand-drawn animation and there's something so magical about it.

"The beauty of the lines drawn and painted by the human hand always resonated with me.”

Usman says he travelled the world looking for mentors and his search took him to Japanese animation house Studio Ghibli.

The influence of the Oscar-winning artists behind classics such as Spirited Away and Princess Mononoke can be seen in The Glassworker's own style.

Usman says the industry veterans at Ghibli were also the ones who encouraged him to start the production himself.

After raising $116,000 through a 2016 crowdfunding campaign he founded his own studio, Mano Animations.

From there it's been a painstaking process, especially since full production started in 2019.

“What you are watching is essentially a moving painting,” says Usman.

“Every single frame you see, whether it's a background or the character moving, it's all drawn by hand.”

Usman says that, so far, he hasn't made any money from the project and has been unable to pay his wife Maryam and cousin Khizer, who he recruited to help him.

But there's hope that the labour of love could be the start of something bigger.

Usman Riaz says he's always been a fan of animation

Sharmeen Obaid Chinoy is another experienced industry figure Usman turned to for advice about getting The Glassworker off the ground.

She directed 3 Bahadur, a computer-generated tale that was Pakistan's first-ever animated feature film.

On its 2015 release it broke box office records, even surpassing US imports and dethroning previous record-holder Rio 2.

Her studio was also the country's first female-led animation studio, and she understands the challenges of getting started better than most.

“Everything in Pakistan is driven by passion” she says. “I had to run pillar to post.

“We're a country that has limited access to electricity and our industry is heavily taxed.

"We're unable to import computers and hardware needed for animation.”

But Sharmeen – who is going to direct upcoming Star Wars film New Jedi Order – says The Glassworker could be a “monumental step” for Pakistan’s animation scene.

If it finds commercial success, she believes it will “ignite” something in the country, but there are barriers to home-grown animation becoming a red-hot trend.

The Glassworker is partly about the romance between characters Vincent and Alliz

Arafat Mazhar from Lahore-based Puffball animation agrees that “the technical skills are already there” in Pakistan despite there being “no formal training or schools available”.

But “how do you not censor yourself?” he asks.

It's a question facing any Pakistani filmmaker who has to deal with its strict board of film censors.

“Every time there's a good film that comes out that's sincere, the state ends up censoring it,” says Arafat.

He doesn't believe the rules are likely to relax soon.

Akira Toriyama: Fans reflect on Dragon Ball creator's legacy

Stranger Things season five teaser excites fans

Is Hollywood finally doing anime right?

Sharmeen agrees the government will only encourage the domestic film industry to grow if they work to "provide opportunity to create a level playing field for us to compete with the rest of the world".

“There is a lot of scope in Pakistan for animation," she says. "We've just never been given the opportunity to create it."

She shares Arafat's pessimism about the pace of change.

"Unfortunately, it will just be a few filmmakers who have that passion, who will continue to create films," she says.

But Sharmeen says she is eager to see how the world embraces The Glassworker.

"I know that there is so much in there that will touch people's hearts," she says.

Usman says The Glassworker has an anti-war message

Usman will finally get to find out how audiences react to the work he's spent 10 years pouring his energy into as The Glassworker goes on general release.

He says he hopes to “put Pakistan on the map” and show it can stand up to the giants across the border in Bollywood.

But he admits the process has been “gruelling”.

“It is extremely difficult, but we've done something nobody has ever done in the country before," he says.

"I think we've created something special that can stand toe-to-toe with the rest of the animation produced in the world.”

Listen to Ankur Desai's show on BBC Asian Network live from 15:00-18:00 Monday to Thursday - or listen back here.

[rf-times]

"What does it mean to take a comparative approach? First, we have to move away from the imperialist notion that misogyny only exists elsewhere in countries with “backward” cultures and religions, take a long hard look at the oppression that women face in the heart of empire, and explain how both are tied together.

For example, women in various countries around the world are killed by family members. In Pakistan, this amounts to about a thousand. Pakistan is a country of 140 million people. This is a serious problem, and as feminists, progressives, and leftists, we shouldn’t paper over these realities. However, we should also challenge the ways in which these murders are characterized. To call them “honor killings” as if religion and culture are solely responsible for the murder of women, gives a complete pass to the larger economic, political, and social conditions that produce this violence.

These conditions are important because a similar set of conditions produce horrific levels of violence against women in the United States. Here, 1500 women are killed by their spouses or boyfriends each year in what are called “crimes of passion.” From 2002 to 2012, the number of women killed by intimate partners was 15,462. The US has a population of 300 million, twice the size of Pakistan, but the figures nonetheless are comparable. However, in the mainstream framing of the issue of violence against women, we hear about the murders of women “out there,” but rarely about what happens here. Every day about four women are killed by intimate partners in the United States, but we don’t know their names, we don’t know their stories, and even when we do it is discussed as individual aberrations, crimes driven by passion, rather than by a society that systematically treats women as second class citizens. So rather than resort to this clash of civilizations framing, where “our” misogyny is either papered over or reduced to individual aberrations, while “theirs” is viewed as a product of their backward culture, what we need to do instead is to conduct a concrete analysis of what produces violence against women globally. This necessarily involves looking at structural factors rather than just culture, either “rape culture” or “Islamic culture.”"

[blackswaneuroparedux]

Anonymous ask: What do you think of the new Indiana Jones movie? And of Phoebe Waller-Bridge?

In a nutshell: From start to finish ‘Indiana Jones and the Dial of Destiny’ is watching Indiana Jones being a broken-down shell of a once great legacy character who has to be saved by the perfect younger and snarky but stereotypical ’Strong Independent Woman’ that passes for women characters in popcorn movies today.

I went in to this film with conflicted feelings. On the one hand I was genuinely excited to see this new Indiana Jones movie because it’s Indiana Jones. Period. Yet, on the other hand I feared how badly Lucasfilm, under Kathleen Kennedy’s insipid woke inspired CEO studio direction, was going to further tarnish not just a screen legend but the legacy of both George Lucas and Steven Spielberg. The cultural damage she has done to such a beloved franchise as the Star Wars universe in the name of progressive woke ideology is criminal. The troubled production history behind this film and its massive $300 million budget (by some estimates) meant Disney had a lot riding on it, especially with the future of Kathleen Kennedy on the line too as she was hands on with this film.

To me the Indiana Jones movies (well, the first three anyway, the less we say about ‘Kingdom of the Crystal Skull’ the better) were an important part of my childhood. I fell in love with the character instantly. Watching ‘Raiders of the Lost Ark’ (first on DVD in my boarding school dorm with other giggly girls and later on the big screen at a local arts cinema retrospective on Harrison Ford’s stellar career) just blew me away. 

As a girl I wanted to be an archaeologist and have high falutin’ adventures; I even volunteered in digs in Pakistan and India (the Indus civilisation) as well as museum work in China as a teen growing up in those countries and discovering the methodical and patient but back breaking reality of what archaeology really was. But that didn’t dampen my spirit. Just once I wanted to echo Dr. Jones, ‘This belongs in a museum!’ But I happily settled for studying Classics instead and enjoyed studying classical archaeology on the side.

I couldn’t quite make sense why Indiana Jones resonated with me more than any other action hero on the screen until much later in life. Looking like Harrison Ford certainly helps. But it’s more than that. I’ve written this elsewhere but it’s worth repeating here.

‘Raiders of the Lost Ark’ is considered an inspiration for so many action films yet there’s a very odd aspect to the film that’s rather unique and rarely noticed by its critics and fans. It’s an element that, once spotted, is difficult to forget, and is perhaps inspiring for times like the one in which we currently live, when there are so many challenges to get through. Typically in action films, the hero faces an array of obstacles and setbacks, but largely solves one problem after another, completes one quest after another, defeats one villain after another, and enjoys one victory after another.

The structure of ‘Raiders’ is different. A quick reminder:

- In the opening sequence, Indiana Jones obtains the temple idol only to lose it to his rival René Belloq (Paul Freeman). - In the streets of Cairo, Indy fails to protect his love, Marion Ravenwood (Karen Allen), from being captured (killed, he assumes). - In the desert, he finds the long-lost Ark of the Covenant, only to have it taken away by Belloq. - Indy then recovers the ark only to have it stolen a second time by Belloq, this time at sea. - On an island, Indy tries to bluff Belloq into thinking he’ll blow up the ark. His bluff fails. Indy is captured. - The climax of the film literally has its hero tied to a post the entire time. He’s completely ineffectual and helpless at a point in the movie where every other action hero is having their greatest moment of struggle and, typically, triumph.

If Indiana Jones had done absolutely nothing, if the famed archeologist had simply stayed home, the Nazis would have met the same fate - losing their lives to ark’s wrath because they opened it. It’s pretty rare in action films for the evil arch-villains to have the same outcome as if the hero had done nothing at all.

Indy does succeed in getting the ark back to America, of course, which is crucial. But then Indy loses the ark, once again, when government agents send it to a warehouse and refuse to let him study the object he chased the whole film. In other words: Indiana Jones spends ‘Raiders’ failing, getting beat up, and losing every artefact that he risks his life to acquire. And yet, Indiana Jones is considered a great hero.

The reason Indiana Jones is a hero isn’t because he wins. It’s because he never stops trying. I think this is the core of Indiana Jones’ character.

Critics will go on about something called agency as in being active or pro-active. But agency can be reactive and still be kinetic to propel the story along. It’s something that has progressively got lost as the series went on. With the latest Indiana Jones film I felt that Indiana Jones character had no agency and ends up being a relatively passive character. Sadly Indiana Jones ends up being a grouchy, broken, and beat up passenger in his own movie.

Released in 1981, ‘Raiders of the Lost Ark’ remains one of the most influential blockbusters of all time. Exciting action, exotic adventure, just the right amount of romance, good-natured humour, cutting-edge special effects: it was all there, perfectly balanced. Since then, attempts have been made to reproduce this winning recipe in different narrative contexts, sometimes successfully (’Temple of Doom’ and ‘the Last Crusade’), usually in vain (’Crystal Skull’).

What are the key ingredients of an Indiana Jones movie? There are only four core elements - leaving aside aspects of story such as the villain or the goal - that you need in place before anything else. They are: the wry, world-weary but sexy masculine performance of Harrison Ford; the story telling genius of George Lucas steeped in the lore of Saturday morning action hero television shows of the 1950s; the deft visual story telling and old school action direction of Steven Spielberg; and the sublime and sweeping music of the great John Williams. This what made the first three films really work.

In the latest Indiana Jones film, you only have one. Neither Lucas and Spielberg are there and arguably neither is Harrison Ford. John Williams’ music score remains imperious as ever. His music does a lot of heavy lifting in the film and let’s face it, his sublime music can polish any turd.

This isn’t to say the ‘Dial of Destiny’ is a turd. I won’t go that far, and to be honest some of the critical reaction has been over-hysterical. Instead I found it enjoyable but also immensely frustrating more than anything else. It had potential to be a great swan song film for Indy because it had an exciting collection of talent behind it.

In the absence of Spielberg, one couldn’t do worse than to pick James Mangold as next best to direct this film. Mangold is a great director. I am a fan of his body of work. After ‘Copland’, ‘Walk the Line’, ‘Logan’ and ‘Le Mans 66’ (or ‘Ford vs Ferrari’), James Mangold has been putting together a fine career shaped by his ability to deliver stories that rediscover a certain old-fashioned charm without abusing the historical figures - real or fictional - he tackles. And after Johnny Cash, Wolverine and Ken Miles, among others, I had high hopes he would keep the flame alive when it came to Indiana Jones. Mangold grew up as a fanboy of Spielberg’s work and you can clearly see that in his approach to directing film.

But in this film his direction lacks vitality. Mangold, while regularly really good, drags his feet a little here because he’s caught between putting his own stamp on the film and yet also lovingly pay homage to his hero, Spielberg. It’s as if he didn't dare give himself away completely, the director seems too modest to really take the saga by the scruff of the neck, and inevitably ends up suffering from the inevitable comparison with Steven Spielberg.

Mangold tries to recreate the nostalgic wonder of the originals, but doesn't quite succeed, while succumbing to an overkill of visual effects that make several passages seem artificial. The action set pieces range from pedestrian to barely satisfying. The prologue sequence was vaguely reminiscent of past films but it was still a little too reliant on CGI. The much talked about de-ageing of Harrison Ford on screen was impressive (and one suspects a lot of the film budget was sunk right there). But Indiana’s lifeless digitally de-aged avatar fighting on a computer-generated train, made the whole sequence feel like the Nazi Polar Express. Because it didn’t look real, there was no sense of danger and therefore no emotional investment from the audience. You know Tom Cruise would have done it for real and it would have looked properly cinematic and spectacular.

The tuk tuk chase through the narrow streets of Tangiers was again an exciting echo of past films, especially ‘Raiders’, but goes on a tad too long, but the exploration of the ship wreck (and a criminally underused cameo by Antonio Banderas) was disappointing and way too short. 

The main problem here is the lack of creativity in the conception of truly epic scenes, because these are not dependent on Ford's age. Indeed, the film could very well have offered exhilarating action sequences worthy of the archaeologist with the whip, without relying solely on the physicality of its leading man. You don't need a Tom Cruise to orchestrate great moments but you could do worse than to follow his example. 

Mangold uses various means of locomotion to move the character  - train, tuk tuk, motorbike, horse - and offers a few images that wouldn't necessarily be seen elsewhere (notably the shot of Jones riding a horse in the middle of the underground), but in the end shows himself to be rather uninspired, when the first three films in the saga conceived some of the most inventive sequences in the genre and left their mark on cinema history. There are no really long shots, no iconic compositions, no complex shots that last and enrich a sequence, which makes the film look too smooth and prevents it from giving heft to an adventure that absolutely needs it.

And so now to the divisive figure of Phoebe Waller-Bridge. 

It’s important here to separate the person from the character. I like Phoebe Waller-Bridge and I loved her in her ‘Fleabag’ series. She excels in a very British setting. I think she is funny, irreverent, and a whip smart talented writer and performer. I also think she has a particular frigid English beauty and poise about her. When I say poise I don’t mean the elegant poise of a Parisienne or a Milanese woman, but someone who is cute and comfortable in her own skin. You would think she would be more suited to ‘Downton Abbey’ setting than all out Hollywood action film. But I think she almost pulls it off here. 

In truth over the years Phoebe Waller-Bridge, known for her comedy, has been collecting franchises where she is able to inflict her saucy humour into a hyper-masculine space. I don’t think her talent was properly showcased here. 

Hollywood has this talent for plucking talented writers and actors who are exceptional in what they do and then hire them do something entirely different by either miscasting them or making them write in a different genre. I think Phoebe Waller-Bridge is exceptional and she might just rise if she is served by a better script.

In the end I think she does a decent stab at playing an intriguing character in Helena Shaw, Indy’s long lost and estranged god daughter and a sort of amoral rare artefacts hustler. Phoebe Waller-Bridge brings enthusiasm, charm and mischief to the role, making her a breath of fresh air. She seems to be the only member of the on-screen cast that looks to be enjoying themselves. 

To be fair her I thought Waller-Bridge was a more memorable and interesting female character than either Kate Capshaw (’Temple of Doom’, 1984) and Alison Doody (’Last Crusade’, 1989). She certainly is a marked improvement on the modern woke inspired insipid female action leads such as Brie Larson (’Captain Marvel’), or any women in the Marvel universe for that matter, or Katherine Waterson (’Alien Covenant’). Waller-Bridge could have been reminiscent of Kathleen Turner (’Romancing the Stone’) and more recently Eva Green, actresses who command attention on screen and are as captivating, if not more so, than the male protagonists they play opposite.

To be sure there have been strong female leads before the woke infested itself into Hollywood story telling but they never made it central to their identity. Sigourney Weaver in ‘Alien’ and Linda Hamilton in the ‘Terminator’ franchise somehow conveyed strength of character with grit and perseverance through their suffering, while also being vulnerable and confident to pull through and succeed. Phoebe Waller-Bridge’s character isn’t quite that. She doesn’t get into fist fights or overpowers big hulking men but she uses cheek and charm to wriggle out of tight spots. She’s gently bad ass rather the dull ‘strong independent woman’ cardboard caricatures that Marvel is determined to ram down every girl’s throat. If Waller-Bridge’s character was better written she might well have been able to revive memories of the great ladies of Hollywood's golden age who had the fantasy and the confidence that men quaked at their feet.

What lets her character down is the snark. She doesn’t pepper her snark but she drowns in it. All of it directed at poor Indy and mocking him for his creaking bones and his entire legacy. It’s a real eyesore and it is a real let down as it drags the story down and clogs up the wheels that power the kinetic energy that an adventure with Indiana Jones needs. ‘The grumpy old man and the young woman with the wicked repartee set off across the vast world’ schtick is all well and good, but it does grate and by the end it makes you angry that Indy has put up with this crap. I can understand why many are turned off by Waller-Bridge’s character. As a female friend of mine put it, we get the talented Phoebe Waller Bridge’s bitter and unlikable Helena acting like a bitter and unlikable man. But it could be worse, it could be as dumb as Shia LaBeouf‘s bad Fonzie impersonation in 'Crystal Skull’.

I would say there is a difference between snark and sass. Waller-Bridge’s character is all snark. If the original whispers are true the original script had her way more snarkier towards Indy until Ford threatened to leave the project unless there were re-writes,  then it shows how far removed the producers and writers were from treating Indy Jones with the proper respect a beloved legacy character deserves. It’s also lazy story telling.

Karen Black gave us real sass with Marion Ravenwood in ‘Raiders’. Her character was sassy, strong, but also vulnerable and romantic. She plays it pitch perfect. Of all the women in Indy’s life she was good foil for Indy.

Spielberg is so underrated for his mise-en-scène. We first meet Marion running a ramshackle but rowdy tavern in Tibet (she’s a survivor). She plays and wins a drinking game (she’s a tough one), she sees Indy again and punches him (she’s angry and hurt for her abandoning her and thus revealing her vulnerability). She has the medallion and becomes a partner (she’s all business). She evades and fights off the Nazis and their goons, she even uses a frying pan (she’s resourceful but not stupid). She tries on dresses (she’s re-discovers her femininity). Indy saves her but she picks him up at the end of the film by going for a drink (she’s healing and there’s a chance of a new start for both of them). This is a character arc worth investing in because it speaks to truth and to our reality.

The problem with Phoebe Waller-Bridge’s character is that she is constantly full on with the snark. Indy and Helena gripe and moan at each other the entire film. Indy hasn’t seen her in years, and she felt abandoned after her father passed, so there’s a lot of bitterness. It’s not unwarranted, but it also isn’t entertaining. It’s never entertaining if the snark makes the character too temperamental and unsympathetic for the audience to be emotionally invested in her.

I think overall the film is let down by the script. Again this is a shame. The writing talent was there. Jez and John-Henry Butterworth worked with James Mangold on ‘Ford v. Ferrari’ and co-wrote ‘Edge of Tomorrow‘ while David Koepp co-wrote the first ‘Mission: Impossible’ (but he also penned Indiana Jones and the ‘Kingdom of the Crystal Skull’, and the 2017 version of ‘The Mummy’ that simultaneously started and destroyed Universal’s plans for their Dark Universe). I love the work of Jez Butterworth who is one of England’s finest modern playwrights and he seemed to have transitioned fine over to Hollywood. But as anyone knows a Hollywood script has always too many cooks in the kitchen. There are so many fingerprints of other people - studio execs and directors and even stars - that a modern Hollywood script somehow resembles a sort of Ship of Theseus. It’s the writer’s name on the script but it doesn’t always mean they wrote or re-wrote every word.

Inevitably things fall between the cracks and you end up filming from the hip and hoping you can stitch together a coherent narrative in post-production editing. Clearly this film suffered from studio interference and many re-writes. And it shows because there is no narrative fluidity at work in the film.

Mads Mikkelsen’s Nazi scientist is a case in point. I love Mikkelsen especially in his arthouse films but I understand why he takes the bucks for the Hollywood films too. But in this film he is phoning in his performance. Mads Mikkelsen does what he can with limited screen time to make an impact but this character feels so recycled from other blockbusters. Here the CIA and US Government are evil and willing to let innocent Americans be murdered in order to let their pet Nazi rocket scientist pursue what they believe to be a hobby. But to be fair the villains in the Indy movies have never truly been memorable with perhaps Belloq, the French archaeologist and nemesis of Indy in ‘Raiders’, the only real exception. It’s just been generic bad guys - The Nazis! The Thugee death cult! The Nazis (again)! The Commies! Now we’re back to Nazis again which is not only safer ground for the Indy franchise but something we can all get behind.

However Mads Mikkelsen’s Dr. Voller, is the blandest and most generic Nazi villain in movie history. At the end of World War II, Voller was recruited by the US Government to aid them in rocket technology. Now that he’s completed his task and man has walked on the moon, he’s turning his genius to his ultimate purpose, the recovery of the ‘Dial of Destiny’ built by Archimedes. Should he find both pieces of the ancient treasure, he plans to return to 1930s Nazi Germany, usurp Hitler, and use his advanced knowledge of rocket propulsion to win the war. In a sense then he was channeling his inner Heidegger who felt Hitler had let down Nazism and worse betrayed Heidegger himself.

So there is a character juxtaposition between Voller and Indy in the sense both men feel more comfortable in the past than the present. But neither is given face time together to explore this intriguing premise that could have anchored the whole narrative of the film. It’s a missed opportunity and instead becomes a failure of character and story telling.

Then there are the one liners which seemed shoe horned in to make the studio execs or the writers feel smug about themselves. There are several woke one lines peppered throughout the film but are either tone deaf or just stupid.

“You trigger happy cracker”-  it’s uttered without any self-awareness by a black CIA agent who is chaperoning the Nazi villain. Just because white people think it’s dumb and aren’t bothered by it doesn’t make it any less a racial slur. If you want authenticity then why not use the ’N’ word then as it would historically appropriate in 1969? The hypocrisy is what’s offensive.

“You stole it. He stole it. I stole it. It’s called capitalism.” - capitalism 101 for economic illiterate social justice warriors.

“[I’m] daring, beautiful, and self-sufficient” - uttered by Helena Shaw as a snarky reminder that she’s a strong independent woman, just in case you forgot.

“It’s not what you believe but how hard you believe.” - Indiana Jones has literally stood before the awesome power of God when the Ark of the Covenant was opened up by the Nazis, and they paid the price for it by having their faces melted off. Indy has drunk from the authentic cup of Christ, given to him by a knight who’s lived for centuries, that gave him eternal life and heal his father from a fatal bullet wound. So he’s figuratively seen the face of God (sure, he closed his eyes) and His holy wrath, and has witnessed the divine healing power of Christ first hand. And yet his spews out this drivel. It’s empty of any meaning and is a silly nod to our current fad that it’s all about the truth of our feelings, not observable facts or truth.

For me though the absolute worse was what they did to Indiana Jones as a character. Once the pinnacle of masculinity, a brave and daring man’s man whose zest for life was only matched by his brilliance, Henry Jones Jr. is now a broken, sad, and lonely old man. Indiana Jones is mired in the past. Not in the archaeological past, but in his own personal past. He's asleep at the wheel, losing interest in his own life. He's lost his son, he's losing his wife. He's been trying to pass on his passion, his understanding to disinterested people. They're not so interested in looking at the past. He remains a man turned towards the past, and then he finds himself confronted by Helena, who embodies the future. This nostalgia, this historical anchoring, becomes the main thread of the story.The film tries to deconstructs Indiana Jones on the cusp of retirement from academia and confronts him with a world he no longer understands. That’s an interesting premise and could have made for a great film.

It’s clear that the filmmakers’ intention was for a lost and broken Indiana to recapture his spirit by the film’s end. However, its horrible pacing and meandering and underdeveloped plot, along with Harrison Ford’s miserably sad demeanour in nearly every scene, make for a deeply depressing movie with an empty and unearned resolution. 

By this I mean at the very end of the film. It’s meant to be daring and it is. There’s something giddy about appearing during the middle of siege of Syracuse by blood thirsty Romans and then coming face to face with Archimedes himself. The film seems to want to justify the legendary, exceptional aura and character of Indy himself by including him in History. Hitherto wounded deep down inside, and now also physically wounded, Indy the archaeologist tells Helena that he wants to stay here and be part of history. 

It's a lovely and even moving moment, and you wonder if the film isn't going to pull a ‘Dying Can Wait’ by having its hero die in order to strengthen its legend. But in a moment that is too brutal from a rhythmic point of view, Helena refuses, knocks out her godfather and takes him back to the waiting plane and back to 1969. The next thing Indy sees he’s woken up back in his shabby apartment in New York.

I felt cheated. I’m sure Indy did too.

After all it was his choice. But Helena robbed him of the freedom to make his own decisions. She’s the one to decide what’s best. In effect she robbed him of agency. Even if it was the wrong decision to stay back in time, it’s so important from a narrative and character arc perspective that Indy should have had his own epiphany and make the choice to come back by himself because there is something worth living for in the future present - and that was reconciling with Marion his estranged wife. But damn it, he had to come to that decision for himself, and not have someone else force it upon him. That’s why the ending feelings so unearned and why the story falls flat as a soufflé when you piss on it.

‘Indiana Jones and the Dial of Destiny’ feels like the type of sequel that aimed to capture the magic of its predecessors, had worthwhile intentions, and a talented cast, but it just never properly materialised. In a movie whose pedigree, both in front and behind the camera, is virtually unassailable, it’s inexcusable that this team of filmmakers couldn’t achieve greater heights. 

The film was a missed opportunity to give a proper send off to a cinematic legend. Harrison Ford proving that whatever gruff genre appeal he possessed in his heyday has aged better than Indy’s knees. He may be 80, but Ford carries the weight of the film, which, for all its gargantuan expense, feels a bit like those throwaway serials that first inspired Lucas - fun while it lasts, but wholly forgettable on exit.

I wouldn’t rate ‘Indiana Jones and the Dial of Destiny’ as the worst film in the franchise - that dubious honour still lies with ‘Kingdom of the Crystal Skull’.  Indeed the best I can say is that I would rate this film at the benchmark of “not quite as bad as Crystal Skull”.But it’s definitely time to retire and hang up the fedora and the bull whip.

For what’s worth I always thought the ending of ‘Last Crusade’ where Indy, his father Henry Jones Snr., and his two most faithful companions, Sallah and Marcus Brody, ride off into the sunset was the most fitting way to say goodbye to a beloved character.

Instead we have in ‘Dial of Destiny’ the very last scene which is meant to be this perfect ending: Indiana Jones in his scruffy pyjamas and his shabby apartment. Sure, the exchange between a reconciling Indy and Marion is sincere and touching. But that only works because it explicitly recalls ‘Raiders of the Lost Ark’. That's what Nietzsche would call “an eternal return”.

I shall eternally return to watch the first three movies to delight in the adventures of the swashbuckling archaeologist with the fedora and a bull whip. The last two dire films will be thrown into the black abyss. Something even Nietzsche would have approved of.

Thanks for your question.

[molkolsdal]

Carpet with Palm Trees, Ibexes, and Birds

Probably made in present-day Pakistan, Lahore, late 16th–early 17th century

Cotton (warp and weft), wool (pile); asymmetrically knotted pile

This carpet, with its pictorial depiction of trees, birds, and animals, is conceived like a textile with a repeat design in which each unit reverses the direction of the preceding one. The ibexes, Chinese mythological beasts called qilins, and animals in combat, are derived from Safavid Persian art, as is the border design of cartouches and star-shaped medallions with cloud bands. The palm tree, however, is a very Indian feature, as is the generally naturalistic drawing of the flora and fauna and the bright red color of the field. The relationship to Persian carpet design dates this example to the early Mughal period, soon after the first carpet workshops were established by the emperor Akbar in Lahore, Agra, and Fatehpur Sikri.

Although the advent of carpet weaving in India predates his reign, it was the Mughal emperor Akbar (r. 1556–1605) who established imperial workshops for carpets, as well as a pattern of royal patronage. Carpet workshops were set up first at Fatehpur Sikri, the imperial capital only from 1571 to 1585, then at Lahore and Agra, and then, before 1640, at Kashmir.[1] Not all Indian carpets surviving from these early times necessarily suggest imperial manufacture, so commercial workshops must also have been in full production. Masters and workmen, many undoubtedly Iranian, are known to have come to India to help establish the workshops, and Persian carpets also clearly continued to be imported despite the high quality of local production.[2]

It should not be surprising, then, that this large carpet, representing production dating from late in the reign of Akbar, displays strong Persian influence. The most popular Persian convention was the symmetrical arrangement of scrolling vines with blossoms and leaves, but another approach was the use of pictorial patterns similar to those produced for paintings in royal manuscripts (the two conventions are combined in some examples). The field pattern here combines animals, birds, and vegetation in a pictorial way, that is, they are meant to be seen from one direction and without the matrix of a vine-scroll pattern to connect everything. Pictorial designs can be found in Persian carpets in a few examples of the small "Kashan" rugs and even more in a couple of pieces of the "Sanguszko" group; direct contact of some sort is also implied by the use of certain colors. Counterparts of several animals represented here may be seen in one of the Museum’s Persian rugs (no. 14.40.721), notably the leaping ibex, the combat between lion and ibex, and the leaping lion. Flames at the shoulders, indicating supernatural qualities, betray the ultimate Chinese origin of some of these figures, as transmitted to Iran in preceding centuries.

In many respects, however, this carpet is unmistakably Indian. In terms of structure, the cotton warps are eight-ply instead of the four-ply typically found in Persian carpets. As for color, the palette has a brightness, especially in the red, lacking in most Persian pieces, and there is a heavy use of ton-sur-ton coloring, juxtaposing similar colors such as red and pink, light and dark blue, and ocher and beige or off-white. The interlocking compartment design of the main border is related to borders found in Persian carpets (see MMA no. 1978.550), but here it takes a particularly Indian form in its geometricized compartments and the particular silhouette effect of the un-outlined red palmettes and vines set against the white ground. And the palm trees strike an Indian chord. As large as this carpet is, far larger ones are known to have come from Indian looms, including a pair of mid-seventeenth-century audience carpets, each about sixty-three feet long (approximately 19 meters).[3]

Daniel Walker in [Ekhtiar, Soucek, Canby, and Haidar 2011]

Footnotes:

1. Walker, Daniel. Flowers Underfoot: Indian Carpets of the Mughal Era. Exhibition catalogue, Metropolitan Museum, New York, 1997, pp. 7, 12.

2. Abu’l Fazl ‘Allami. The A’in-i Akbari by Abu’l Fazl ‘Allami. Translated by H[enry F.] Blochmann and H[enry] S. Jarrett; edited by D[ouglas] C[raven] Phillott. 3rd ed. 3 vols. 1927–49. Calcutta, 1977, vol. 1, p. 57.

3. Walker 1997 (see note 1), p. 120, fig. 118.

[saintmaudes]

The penetration of China by Buddhism not only gave the Chinese a new religion but, of central importance to this narrative, it gave to the world an entirely new style of art which has come to be known as Serindian. This term is coined from the two words Seres (China) and India. Logically it should have been simply a fusion of Indian Buddhist art and the art of contemporary Han China. It almost certainly would have been had it not been for the great Himalayan massif which so effectively isolated China from all direct contact with India. But faced by this impenetrable barrier, the gospel of Buddhism together with its art came to China by a roundabout route, gradually absorbing other influences on its way. Its real point of departure was not India proper but the Buddhist kingdom of Gandhara, situated in the Peshawar valley region of what is now north-western Pakistan. Here another artistic marriage had already taken place. This was between Indian Buddhist art, imported by the ruling Kushans (descendants of the Yueh-chih) in the first century AD, and Greek art, introduced to the region four hundred years earlier by Alexander the Great. The most revolutionary product of this Graeco-Buddhist, or Gandharan, school was the depiction of Buddha in human form, for it was the first time that artists anywhere had allowed themselves to show him thus. As a being who had ceased to exist, theologically speaking, by achieving Nirvana and thus escaping the endless cycle of rebirth, he had always been portrayed before by means of a mystical symbol such as a single footprint, a wheel, a tree, a stupa or Sanskrit characters. But the Gandharan Buddha is shown by sculptors with straight, sharply chiselled nose and brow, classical lips and wavy hair–all Hellenistic influences. Another obvious Mediterranean introduction is the diaphanous, toga-like robe he wears in place of the expected loin cloth. But his eyes are heavy-lidded and protruding, the lobes of the ears elongated, and the oval-shaped face fleshy–all characteristics of Indian iconography. The stretched ear lobes symbolise Buddha’s casting away of the heavy, jewelled and worldly earrings that he had worn as a wealthy prince before his conversion to a life of self-denial and teaching

—Peter Hopkirk, Foreign Devils on the Silk Road: The Search for the Lost Cities and Treasures of Chinese Central Asia

[mariacallous]

What would you want to tell the next U.S. president? FP asked nine thinkers from around the world to write a letter with their advice for him or her.

Dear Madam or Mr. President,

Congratulations on your election as president of the United States. You take office at a moment of enormous consequence for a world directly impacted by the twin challenges of energy security and climate change.

Democrats and Republicans disagree on many aspects of energy and climate policy. Yet your administration has the chance to chart a policy path forward that unites both parties around core areas of agreement to advance the U.S. national interest.

First, all should agree that climate change is real and worsening. The escalating threat of climate change is increasingly evident to anyone walking the streets of Phoenix in the summer, buying flood insurance in southern Florida, farming rice in Vietnam, or laboring outdoors in Pakistan. This year will almost certainly surpass 2023 as the warmest year on record.

Second, just as the energy revolution that made the United States the world’s largest oil and gas producer strengthened it economically and geopolitically, so will ensuring U.S. leadership in clean energy technologies enhance the country’s geostrategic position. In a new era of great-power competition, China’s dominance in certain clean energy technologies—such as batteries and cobalt, lithium, graphite, and other critical minerals needed for clean energy products—threatens America’s economic competitiveness and the resilience of its energy supply chains. China’s overcapacity in manufacturing relative to current and future demand undermines investments in the United States and other countries and distorts demand signals that allow the most innovative and efficient firms to compete in the global market.

Third, using less oil in our domestic economy reduces our vulnerability to global oil supply disruptions, such as conflict in the Middle East or attacks on tankers in the Red Sea. Even with the surge in U.S. oil production, the price of oil is set in the global market, so drivers feel the pain of oil price shocks regardless of how much oil the United States imports. True energy security comes from using less, not just producing more.

Fourth, energy security risks extend beyond geopolitics and require investing adequately in domestic energy supply to meet changing circumstances. Today, grid operators and regulators are increasingly warning that the antiquated U.S. electricity system, already adjusting to handle rising levels of intermittent solar and wind energy, is not prepared for growing electricity demand from electric cars, data centers, and artificial intelligence. These reliability concerns were evident when an auction this summer set a price nine times higher than last year’s to be paid by the nation’s largest grid operator to power generators that ensure power will be available when needed. A reliable and affordable power system requires investments in grids as well as diverse energy resources, from cheap but intermittent renewables to storage to on-demand power plants.

Fifth, expanding clean energy sectors in the rest of the world is in the national interest because doing so creates economic opportunities for U.S. firms, diversifies global energy supply chains away from China, and enhances U.S. soft power in rapidly growing economies. (In much the same way, the Marshall Plan not only rebuilt a war-ravaged Europe but also advanced U.S. economic interests, countered Soviet influence, and helped U.S. businesses.) Doing so is especially important in rising so-called middle powers, such as Brazil, India, or Saudi Arabia, that are intent on keeping their diplomatic options open and aligning with the United States or China as it suits them transactionally.

To prevent China from becoming a superpower in rapidly growing clean energy sectors, and thereby curbing the benefits the United States derives from being such a large oil and gas producer, your administration should increase investments in research and development for breakthrough clean energy technologies and boost domestic manufacturing of clean energy. Toward these ends, your administration should quickly finalize outstanding regulatory guidance to allow companies to access federal incentives. Your administration should also work with the other side of the aisle to provide the market with certainty that long-term tax incentives for clean energy deployment—which have bipartisan support and have already encouraged historic levels of private investment—will remain in place. Finally, your administration should work with Congress to counteract the unfair competitive advantage that nations such as China receive by manufacturing industrial products with higher greenhouse gas emissions. Such a carbon import tariff, as proposed with bipartisan support, should be paired with a domestic carbon fee to harmonize the policy with that of other nations—particularly the European Union’s planned carbon border adjustment mechanism.

Your ability to build a strong domestic industrial base in clean energy will be aided by sparking more domestic clean energy use. This is already growing quickly as market forces respond to rapidly falling costs. Increasing America’s ability to produce energy is also necessary to maintain electricity grid reliability and meet the growing needs of data centers and AI. To do so, your administration should prioritize making it easier to build energy infrastructure at scale, which today is the greatest barrier to boosting U.S. domestic energy production. On average, it takes more than a decade to build a new high-voltage transmission line in the United States, and the current backlog of renewable energy projects waiting to be connected to the power grid is twice as large as the electricity system itself. It takes almost two decades to bring a new mine online for the metals and minerals needed for clean energy products, such as lithium and copper.

The permitting reform bill recently negotiated by Sens. Joe Manchin and John Barrasso is a good place to start, but much more needs to be done to reform the nation’s permitting system—while respecting the need for sound environmental reviews and the rights of tribal communities. In addition, reforming the way utilities operate in the United States can increase the incentives that power companies have not just to build new infrastructure but to use existing infrastructure more efficiently. Such measures include deploying batteries to store renewable energy and rewiring old transmission lines with advanced conductors that can double the amount of power they move.

Grid reliability will also require more electricity from sources that are available at all times, known as firm power. Your administration should prioritize making it easier to construct power plants with advanced nuclear technology—which reduce costs, waste, and safety concerns—and to produce nuclear power plant fuel in the United States. Doing so also benefits U.S. national security, as Russia is building more than one-third of new nuclear reactors around the world to bolster its geostrategic influence. While Russia has been the leading exporter of reactors, China has by far the most reactors under construction at home and is thus poised to play an even bigger role in the international market going forward. The United States also currently imports roughly one-fifth of its enriched uranium from Russia. To counter this by building a stronger domestic nuclear industry, your administration should improve the licensing and approval process of the Nuclear Regulatory Commission and reform the country’s nuclear waste management policies. In addition to nuclear power, your administration should also make it easier to permit geothermal power plants, which today can play a much larger role in meeting the nation’s energy needs thanks to recent innovations using technology advanced by the oil and gas sector for shale development.

Even with progress on all these challenges, it is unrealistic to expect that the United States can produce all the clean energy products it needs domestically. It will take many years to diminish China’s lead in critical mineral supply, battery manufacturing, and solar manufacturing. The rate of growth needed in clean energy is too overwhelming, and China’s head start is too great to diversify supply chains away from it if the United States relies solely on domestic manufacturing or that of a few friendly countries. As a result, diminishing China’s dominant position requires that your administration expand economic cooperation and trade partnerships with a vast number of other nations. Contrary to today’s protectionist trends, the best antidote to concerns about China’s clean technology dominance is more trade, not less.

Your administration should also strengthen existing tools that increase the supply of clean energy products in emerging and developing economies in order to diversify supply chains and counter China’s influence in these markets. For example, the U.S. International Development Finance Corp. (DFC) can be a powerful tool to support U.S. investment overseas, such as in African or Latin American projects to mine, refine, and process critical minerals. As DFC comes up for reauthorization next year, you should work with Congress to provide DFC with more resources and also change the way federal budgeting rules account for equity investments; this would allow DFC to make far more equity investments even with its existing funding. Your administration can also use DFC to encourage private investment in energy projects in emerging and developing economies by reducing the risk investors face from fluctuations in local currency that can significantly limit their returns or discourage their investment from the start. The U.S. Export-Import Bank is another tool to support the export of U.S. clean tech by providing financing for U.S. goods and services competing with foreign firms abroad.

Despite this country’s deep divisions and polarization, leaders of both parties should agree that bolstering clean energy production in the United States and in a broad range of partner countries around the world is in America’s economic and security interests.

I wish you much success in this work, which will also be the country’s success.

[dailyanarchistposts]

Water is essential for all life on Earth. But one-third of the world’s population do not have access to a supply of safe drinking water (a situation that is worsening). A third of all deaths in the world are the results of water-borne diseases. Water is a limited but endlessly renewed resource; its pollution, mismanagement and overuse by corporations, governments and people (turned into ‘consumers’ in a world that is not of their making) threaten to turn a global crisis into a long-term planetary disaster. The Vice-President of the World Bank, Ismail Seregeldin, stated in 1995 that “the wars of the next century will be over water… by the year 2025, the amount of water available to each person in the Middle East and North Africa will have dropped by 80% in a single lifetime”.

Disputes and Wars

40% of the world’s population depend on water from a neighbouring country. Over 200 large rivers are shared by two or more countries. In modern times the existence of vast cities, irrigated agriculture and the demand for hydro-electric power have led countries to claim or steal water resources once used by others. The cutting up of river systems by state boundaries has aggravated the problems of responding to floods. The political and engineering structures that bring economic power and political control to national and international elites also threaten lives and livelihoods. One reason for Turkey’s refusal to grant autonomy to the Kurds is the importance of water resources in eastern Turkey. Attempts to divert the sources of the River Jordan in South Lebanon and the Golan Heights provoked the Israeli-Arab War of 1967. Following this, Israel began to appropriate water supplies to support new settlements and supply towns and industry in Israel proper: Israel annually pumps 600 million cubic metres of water (over 30% of its supply) from aquifers that lie wholly or partly under the West Bank. 115 million cubic metres are allocated to the 1.4m West Bank Palestinians and 30m to 130,000 Jewish settlers; the rest (455 million cubic metres) goes to Israel. West Bank Palestinians have been barred from digging new wells or renovating old ones since 1967. Egypt offered Israel 400m cubic metres of fresh water a year to settle its conflict and assist the Palestinians; but there is still no agreement over water for the West Bank. There is a continuous threat of water wars in South Asia between India, Bangladesh, Nepal and Bhutan. Large-scale deforestation upstream results in increasingly widespread flood disasters below. Punjab water was an important contributory factor to the 1965 Indo-Pakistan war. Hindu nationalism has been fuelled by the unfair distribution of India’s water to the Sikh Punjab and led to the storming of the Sikh Golden Temple in Amritsar in 1984.

Modern wars depend on the destruction of the civilian population’s means of life and livelihood. In 1991 in Iraq, for example, the deliberate destruction of power supplies by bombing and war created a huge health problem. Over 90% of sewage treatment plants were disabled with huge amounts of untreated domestic and industrial sewage being pumped into rivers, creating an increase in water-borne diseases. Agricultural production was slashed by the breakdown of the electrically powered irrigation network. Before the Gulf War Iraq produced 30% of its food. Prior to the US-UK assault on Iraq in 2003, the figure was 10–15%.

[cherrylng]

The reality of Oxfam's involvement with Coldplay [CROSSBEAT (August 2006)]

In the UK, where philanthropy is very popular, celebrities and individuals often choose one (or more) of a number of organisations and campaigns to support and work with as part of their life's work. Coldplay's commitment to the UK-based development NGO Oxfam's 'Make Trade Fair' campaign is widely known.

The ‘unfair trade’ that prevails in the world is a long-standing problem between the so-called ‘developed’ and ‘developing’ countries. Historically, it has the same roots as the unfair colonial trade once practised by Western countries. Western countries buy raw materials at low prices from developing countries (without teaching them the technology) and export them, while selling goods mass-produced in their own countries to developing countries. Even now, developed countries are forcing developing countries to open their markets, putting pressure on the livelihoods of local farmers and workers. In the 1990s, when people became aware of the problems of unfair trade, it began to become a problem that footballs made by young children in Pakistan and other Asian countries, who were not allowed to go to school and were forced to work for cheap wages, were traded at high prices in the UK. In addition, in the banana industry, where five major corporations control more than 80% of the world market, the struggles of Latin American farmers, who are forced to ship at unfairly low prices, attracted attention and support movements in the late 1990s. As a result, when the first ‘fair trade bananas’ were imported into the UK in 2000, it was widely reported.

In 2002, Oxfam launched an international campaign to bring together the sporadic campaign to correct unfair trade and to call on governments and the WTO to change trade rules and shift policies. In 2002, Chris and his staff visited the Dominican Republic and Haiti in Central America to see first-hand the plight of the local people and the production of coffee beans, which had seen a decline in wholesale prices in recent years. In 2003, they visited Mexico, where they performed as a band at a concert in support of maize farmers fighting against cheap imports from the USA. In 2005, Chris toured Ghana (see photo) and was shocked to learn that cheap agricultural imports from the West were destroying local agriculture and contributing to poverty. Incidentally, Ghana is the second largest producer of cocoa beans in the world, yet it cannot make chocolate. Even if they did, they could not export it because of high tariffs imposed by developed countries.

What is needed is not for rich countries to seek more wealth, but for them to share it with less rich countries. "When I was a child in the 80s, if you saw on TV the miserable situation of farmers, the only solution was to ‘donate money’. But here I see other solutions. I mean, everyone can participate by speaking up. The more I study, the more I think that poverty is also caused by trade imbalances. What I feel is particularly serious is that we are ruining the industries of developing countries by exporting products that are surplus in developed countries at unbeatable prices. It's crazy. It should be easy to stop." (Chris).

Chris has made the movement known by wearing campaign slogan T-shirts in public, including at shows, and by contributing a column to newspapers. "As long as we're providing music with heart, we can talk openly about things we feel are important in the media in developed countries. We can also promote Fair Trade and play our part in putting pressure on governments in the developed world to expand our activities and bring about trade inequalities." -Sumi Imai

[13thdoctorposts]

chris chibnalls era was the most conservative nuwho has been. remember when he made the first non-white master dress up as a nazi, and the white protagonist purposefully reveals his race with the intent of getting him sent to a concentration camp? or when he queerbaited thasmin? or when the female protagonist knelt down to a man and called him her master? or when yaz instantly shut down ryan when he was talking about his struggles as a black person? or the concept of a pregnant man being used as a joke? please try to see through the performative activism.

Thanks for the question. I think most of the questions are rhetorical because obviously I’ve watched the show and saw these things, I think the question is just asking me to see through the performative activism. I don’t think it was performative activism but I thought we could go though each part of the question together as I’m happy to breakdown my thoughts on the situations mentioned. This might be TLDR for some people just warning you now 😅

chris chibnalls era was the most conservative nuwho has been.

I find it interesting the asker is saying the show is conservative while also saying its performative activism so essentially that it was trying to be woke.

Personally I don’t think Chibbs was trying to make a ‘Woke’ show, I also don’t think he was trying to make a ‘conservative’ show. I think he was trying to make a show with diverse stories. I think series 11 did this best. The ending of Keblam! was definitely not ‘Woke’ so all the talk about the show itself being ‘Woke’ I don’t think is correct but I also don’t think the show was trying to be actively conservative either since it was talking about issues like racism and partition of India and Pakistan, and making fun of a trump like figure, for example. It’s just a show about time and space, sometimes you see politics in it sometimes you don’t. I’ll talk about my thoughts on ‘performative activism’ during the Chibnall era at the end.

I think its important to remember Chibbs is just a dude going to work doing a really big job trying to use his position of power the best he can… it doesn’t mean every decision is going to be right… sometimes I make a bad calls at work, we all do… people are human… I can empathise that people can try their best and sometimes get it wrong but also often get it right, the world is nuanced not black and white. However this doesn’t make a whole show bad, can anyone name a show with 3 series that doesn’t have any bad decisions… can anyone name a different Doctors run that was perfect and no mistakes or mis-steps were made?

remember when he made the first non-white master dress up as a nazi, and the white protagonist purposefully reveals his race with the intent of getting him sent to a concentration camp?

I most definitely do remember this, and I think it was a bad call. However I can also acknowledge that Sacha was hired when everyone was already in South Africa a week before shooting Spyfall, which means the script was already written and pre production was well under way so they probably didn’t have the ability to change a major chunk of the script, thats just the logistics of shooting a TV show. It would have been great if Chris had unlimited money and time to change things but thats just not the case. I would think this logically means they couldn’t change the fact that they had the Master in a Nazi outfit… I also think its possible when writing the episode Chris probably wrote it with the subconscious bias that he was going to have a white male as the Doctors Master. Although Chris was very good about hiring diverse actors, subconscious bias sits in us we aren’t always aware we are doing it, hence the subconscious part. This isn’t great on Chris’s part but I don’t think he was being deliberately malice either. I think they also thought once they had Sacha that they needed to acknowledge race… and they did in the worse way possible, it was unnecessary and was a terrible look for the Doctor.

or when the female protagonist knelt down to a man and called him her master?

Yeah I do also remember this, it was uncomfortable to watch, I think the purpose of the scene was meant to make us really dislike the Master, to kill any good will the audience was having towards ‘O’. Him killing people is horrible but its the Master its expected and random characters who are extras that we as an audience aren’t attached to isn’t going to have the same effect as him doing something horrible to a character we are attached to like the Doctor. I wish what he had done wasn’t this. I don’t think it’s a good look, a female Doctor having to be submissive to a male in this way. It’s not appropriate. However I have to praise Jodies acting here because she acted this scene in the most unsubmissive way possible. This is just a decision I don’t agree with, it doesn’t make for a bad show overall.

or when he queerbaited thasmin?

Thasmin wasn’t queerbait because the characters canonically admitted having feeling for each other. You can be disappointed with the way it ended… I am… but a bad ending isn’t queerbaiting. Queerbaiting is implying their might be something queer happening only for it to be dropped and often a heteronormative ending is what is actually depicted on screen and was primarily used by shows as a rating kick. I would say it would be the opposite for Doctor Who, since people were vocal about not wanting a female Doctor, not wanting the Doctor to ever have a love interest etc. it likely wouldn’t have given the show a ratings kick in the same way other modern era TV would hope to get when queerbaiting. Thasmin isn’t queerbaiting its just a disappointing end

or when yaz instantly shut down ryan when he was talking about his struggles as a black person?

I don’t think this is what Yaz’s intention was but people can read the scene as they wish.

or the concept of a pregnant man being used as a joke?

I don’t think it was being play with as a joke. I think Ryan and Graham’s reaction in this episode was how a lot of people would act and through the episode seeing them coming to terms with the idea a male can be pregnant is a reflection of society and you see them work through being uncomfortable, not really being sure how to act or what to say but in the end they get to where they need to be, seeing the miracle that is life. This also touches on Ryans father issues so theres a lot going on in this situation and although theres some comic relief moments I don’t think it was trying to make the whole situation a joke.

please try to see through the performative activism.

I don’t think the Chibnall era was performative activism because he wasn’t all words, he was actions. There were more diverse voices in major positions, in the cast, in the writers room and with Directors.

So what do I mean by this? Well we didn’t have a white man write ‘Rosa’ and then have an all white TARDIS team take on racism in 1955 and defeat it. That would have been performative activism.

First of all and most importantly we had a woman of colour hired and paid to write a story that was in a very well known TV show giving the story a huge audience on a platform its never had before… thats not performative, that’s actively doing something, Chris hired, paid and gave a platform to a person of colour to tell their story.

Giving people real opportunities in areas they haven’t had opportunities before on a large scale like Doctor Who and trying to create an environment where that is normalised and diverse voices are a common place has to start somewhere, it doesn’t just happen fully formed and Chibbs was clearly and deliberately trying to normalises having voices of women and people of colour in front and behind the camera in senior positions like actors, writers and directors.

I think it’s important to remember Chibbs was trying to be the beginning of this change so its not a fully realised idea, there aren’t as many writers and directors who are women and people of colour, so you bring in as many as you can, which I think Chibbs did, then you try and grow it from there. If more show runners did what Chibbs did in years to come we would have more minority writers, directors and show runners. It has to start somewhere and the more opportunities that open up the more people will enter these professions and so more voices will become normalised in the industry and more representation will be found in media for all of us. The fact he was trying to build this systemic change clearly demonstrates this isn’t ‘performative’ activism.

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The economic hit predicted by the paper is more than twice as high as any previous analysis.

Behind that difference is a more sophisticated methodology. While most previous studies considered only damages related to rising temperatures at a national level, the new paper also incorporated rainfall and extreme weather impacts using 40 years of data from 1,600 subnational regions. This is important because weather is a local rather than national phenomenon. The study also considered how impacts tend to persist over months and years, rather than being only a short-term hit.

Previous projections were optimistic that most northern hemisphere economies would continue to grow. By contrast, the new paper says countries such as Germany (-11%), France (-13%), the US (-11%) and UK (-7%) will lose out even by mid century. Worst affected will be countries in already hot regions including Botswana (-25%), Mali (-25%), Iraq (-30%), Qatar (-31%), Pakistan (-26%) and Brazil (-21%).

Maximilian Kotz, an author of the study, said: “Strong income reductions are projected for the majority of regions, including North America and Europe, with south Asia and Africa being most strongly affected. These are caused by the impact of climate change on various aspects that are relevant for economic growth such as agricultural yields, labour productivity or infrastructure.”