Stretching from Lebanon to Gaza and Yemen, Iran has built an extraordinary military alliance. The core of it is Tehran’s homegrown missile program, one that has given its allies surprising abilities — and poses a fundamental, long-term problem for the United States’ role in the Middle East.
Since his election in June and his inauguration on Aug. 3, Ebrahim Raisi had made all the right noises about forming a cabinet that would be “beyond factions,” nonpartisan and focused on bringing Iran out of the dire straits it finds itself in. On Aug. 11, all such hopes were dashed.
Even a casual observer could notice the importance of poetry in Iranian society, if only because a disproportionate number of tourist sites in Iran are the graves of medieval poets. When classical poetry has become a distant memory in so many cultures, it is clear that it is an integral part of the Iranian consciousness.
By setting up the Owj Organization and producing its own propaganda films, Iran’s Revolutionary Guards has managed to create a new generation of propaganda filmmakers, while at the same time disrupting the careers of those filmmakers it considers enemies.
Arash Azizi, author of “Shadow Commander”, and Cameron Khansarinia, policy director at the National Union for Democracy in Iran, sit down for a podcast with Newlines’ Rasha Elass to discuss what the election of the “hanging judge” means for Iran.
The first decade of Iran’s revolution was its most brutal, and much violence was meted out by the Judiciary. Ebrahim Raisi, the new system’s ultimate loyalist, was just the right man for enforcing such brutalities and rising through the ranks.
One man showed up dressed as the blue Genie from “Aladdin” and declared his presidential candidacy. Another one, donning a face mask made from the Iranian flag, created massive chaos in the registration hall, then promised the bemused bureaucrats that he was running to “save Iran from the current chaos.”