Van Jones and the moral vacancy of American commentary on Gaza

Last Friday, during an appearance on Real Time with Bill Maher on HBO, CNN commentator and former Obama adviser Van Jones claimed that Iran and Qatar are running a disinformation campaign to manipulate young Americans into caring about Gaza. To make his point, he crudely imitated what he said appears on their social media feeds: “Dead Gaza baby, dead Gaza baby, dead Gaza baby, Diddy, dead Gaza baby, dead Gaza baby.” The audience laughed.

The remark, a crass attempt at humour that juxtaposed mass death with celebrity scandal, laid bare the moral drift that has infected American commentary on Palestine. What should have prompted grief instead provoked laughter. A reality steeped in blood became a punchline. It was not merely a gaffe but a revelation of how far the conversation has strayed from moral awareness.

Jones’s apology came swiftly. He admitted the remark was “insensitive and hurtful”, insisting that his intent had been to highlight how foreign adversaries manipulate social media. Yet intent does not erase consequence. To repeat “dead Gaza baby” for rhetorical effect and to attribute the flood of such images to foreign manipulation campaigns is to trivialise authentic suffering. It transforms the murdered children of Gaza into props in a morality play about disinformation.

A true apology would have confronted the deeper problem: the instinct, common in US media, to distrust evidence of Palestinian pain unless it is filtered through Western validation. It is an impulse rooted in hierarchy, the same hierarchy that divides the grievable from the disposable, the innocent from the suspect.

The issue was not merely one of tone but of substance. Jones’s remarks, met with neither objection nor discomfort from his fellow panellists — Thomas Friedman of The New York Times and host Maher — stand as a textbook illustration of how Western commentators, when confronted with the documented suffering of Palestinians, reach for the well-worn inversion that recasts truth as propaganda. It is an instinct that trivialises atrocity and, in this instance, by turning the deaths of Palestinian children into a punchline, completes their dehumanisation.

Jones’s claim is absurd on its face. The world’s horror at Gaza’s devastation is not the product of Qatari or Iranian disinformation; it is the natural response of any conscience not yet cauterised. To those possessed of moral fortitude, the images need no narration; they speak a universal language of grief. Tens of thousands of children have been killed in verified strikes, their names catalogued by humanitarian organisations, their bodies pulled from the ruins by foreign doctors and reporters who bear witness with weary precision. To suggest that these images are fabrications of manipulation rather than evidence of atrocity is not analysis but moral cowardice. It is to participate in the very propaganda one claims to expose.

Jones’s remark reflects a deeper pathology. For decades, much of the US media establishment has treated Palestinian death as a matter of optics rather than ethics. It prefers to interrogate imagery rather than investigate accountability. When confronted with the question of whether Israel’s actions meet the legal threshold for genocide — a conclusion reached by leading human rights organisations, including Human Rights Watch, Amnesty International, B’Tselem, and Al-Haq, as well as by the United Nations Human Rights Council, its Independent Commission of Inquiry, and the UN special rapporteur on the situation of human rights in the Palestinian territory — it looks away. Instead of examining evidence, it frets about “misinformation” and “narrative control”. The effect is to replace moral analysis with moral evasion. The question of genocide becomes not a crime to expose and punish but a branding problem to manage.

The obsession with disinformation also betrays a certain arrogance. It assumes that young people who recoil at the carnage must have been duped by malignant foreign actors. They could not possibly have arrived at outrage through independent moral reasoning. Their compassion must be manufactured, their empathy the product of an algorithm. Such condescension mirrors the colonial logic that denies agency to the colonised and authenticity to those who stand with them.

To be fair, disinformation is real. Every conflict spawns its share of fabrications. But recognising that fact does not license scepticism towards verified atrocity. When the evidence of suffering is so overwhelming, the burden shifts: those who doubt it must prove their case. The reflex to reach for Iran and Qatar as explanatory villains is not analysis; it is evasion. It comforts the conscience by projecting moral disorder elsewhere.

There was a time when Jones embodied a different spirit, one animated by moral urgency. His work on criminal justice reform and racial equity once lent him the credibility of a voice of conscience. That credibility was not lost through mere carelessness, but through the craven instinct to conform and a readiness to be co-opted by the rhetoric of empire. Yet the failure is not his alone. It reflects the ecosystem that produced him: a media culture that rewards deference to power, values fluency in the slogans of empire over fidelity to truth, and exalts the cadence of talking points above the substance of justice.

The laughter in Maher’s studio was telling. It revealed a desensitised audience that could chuckle at the invocation of dead children because those children belonged to the wrong geography. Substitute “Ukrainian baby” or “Israeli baby”, and the same crass joke would have drawn gasps, not laughter. The double standard is the moral disease of our age: empathy rationed by passport.

In the end, this controversy is not about speech but about sight. The task is not to police what people say about Gaza but to compel them to see Gaza: to see the mass graves, the skeletal survivors, the bombed schools, the hospitals reduced to ash. To see is to know, and to know is to judge. The effort to obscure that reality behind the fog of “disinformation” is nothing less than a refusal to see.

Jones’s apology does not close the wound it exposed. Until the US media can name and confront suffering without qualification, its moral authority will remain threadbare. The children of Gaza are not dying from disinformation; they are dying from Israeli bombs, and from the US’s wilful blindness.

Kylie Jenner and Timothée Chalamet reach power couple status with matching outfits

A new sixth love language is here and it requires style and coordination. Celeb couples are showing love through fashion, and they’re acing their look every single time.

Kylie Jenner and Timothée Chalamet’s relationship is going strong. But with the couple starting to date in April 2023, fans have only been able to see snippets of their relationship through their public outings and nothing more, until earlier this week, when the couple were captured together leaving The Waverly Inn in New York City.

They both opted for a head-to-toe black leather look as they went to the after-party for the premiere of the actor’s upcoming film Marty Supreme at the 63rd New York Film Festival at Alice Tully Hall, Lincoln Centre.

Bright Side notes that couples often match their clothes to express unity and celebrate their relationship status. It’s a playful way to show off their connection through shared styles, demonstrating to everyone that they’re the perfect “fit” – no pun intended.

From David and Victoria Beckham to Kylie and Timothée, we’ve gathered some of our favourite celebrities and their matching outfits.

Taylor Swift reveals the pain she went through after finishing Eras tour

Trump suffers surprise defeat by Stevens in China

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World number one Judd Trump suffered a surprise defeat in the second round of the Xi’an Grand Prix as he fell 5-4 to Matthew Stevens in China.

From 3-1 behind against 2019 world champion Trump, Welshman Stevens won the next three frames to take a 4-3 lead.

Trump was trailing by 38 points with 27 left on the table in the eighth frame but earned a decider by forcing a foul on the blue and then on the pink before clearing up and sinking the respotted black.

Both players had opportunities to win the decider, but 47-year-old former Masters and UK Championship winner Stevens, now ranked 51st, held his nerve to book a spot in the last 16 against China’s Lyu Haotian.

Englishman Trump, 36, had a 147 in his opening match this week but has struggled for consistent form in the early months of the 2025-26 season.

His exit in China means he has yet to reach the quarter-finals of a ranking event since the World Championship, when he lost to eventual runner-up Mark Williams in the semi-finals in early May.

O’Sullivan marches on

Ronnie O’Sullivan breezed into the last 32 courtesy of a 5-1 win against Yao Pengcheng.

Seven-time world champion O’Sullivan, playing his first tournament since losing in the Saudi Arabia Masters final in August, has shown no signs of rust.

The 49-year-old Englishman began with a break of 63 in the opening frame and followed with a fine 128 to take control.

China’s Yao struck back with a 55 in the third frame, but the world number 118 was soon back in his seat.

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BREAKING: Nicole Kidman reveals mistakes after filing for Keith Urban divorce

Nicole Kidman has revealed she has made mistakes after it was revealed she is headed for a divorce from Keith Urban. The Hollywood actress, 58, admitted she has always been a risk taker and confirmed she will learn from her ways after the pair’s split was confirmed after 19 years together.

Nicole and Keith’s separation was revealed last week, with the singer reportedly having moved out of their Nashville house. It is rumoured he is already dating someone new.

Nicole said: “Taking a risk is what I’ve always done. You get back up and you try again and you learn.”






Nicole Kidman and Keith Urban in May 2025


Nicole and Keith married in 2006 but are set for divorce
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Getty Images for ACM)

Speaking to Vogue, she went on: “Literally walk away from it because it will fell you. It will destroy you.”

Despite her words, Nicole made sure to steer clear of directly talking about her marriage breakdown. However, she stressed the importance of “ride-or-die friendships.

Nicole returned to the spotlight earlier this week for the first time since the news broke. She was joined by her kids at an award ceremony in Dallas, Texas, on Saturday night.

The Moulin Rouge star honoured television showrunner Taylor Sheridan at the amfAR Dallas Gala, where she presented her with an award.

A source had previously revealed the anxious feeling Nicole had had due to her separation from Keith. A source told People the Aussie star had: “Been stressed [for months] because she knew the separation would eventually become public and she was dreading [the public’s response].”

The source went on: “She’s surprisingly level-headed and calm. Now that it’s out she’s just focused on what’s ahead and her girls.”

Meanwhile, Keith – with whom Nicole shares daughters Sunday, 17, and Faith, 14 – seemed to address his marriage complications during his current tour. Eagle-eyed fans spotted Keith had dropped a tune, that is believed to be about Nicole, from his recent set.

The sing, his 2016 track titled The Fighter, had previously been described as being written for Nicole. However, following news of their break-up, it appeared to have vanished from his playlist.

It’s a tune he has regularly performed during past tours. In it, lyrics include: “When they’re tryna get to you, baby I’ll be the fighter.”

Nicole and Keith’s divorce is said to have come as the pair “suffered irreconcilable differences”. It prompted the actress to begin divorce proceedings.

Divorce documents include a detailed parenting plan, with it said that Nicole will be the primary parents. It’s suggested that she will be the residential parent for 306 days of the year, with the singer having the remaining 59.

They are also said to have fairly split up the holiday periods to share special occasions.

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