Why was 'Jihad Rehab' canceled or disinvited from film festivals?

The film faced a campaign of defamation and intimidation, primarily from a group of Muslim documentary filmmakers and the organization CAGE, before anyone had seen the final cut. Accusations included it being Saudi propaganda, islamophobic, racist, and that the subjects did not give informed consent. Film festivals like Sundance and South by Southwest capitulated to this pressure, withdrawing invitations and awards.

What were the initial criticisms against Meg Smaker's film?

Initially, critics claimed the film was Saudi propaganda and funded by the Saudi government, and that the filmmaker was racist and the film islamophobic. These accusations were made before most people, including some involved in the decision-making at festivals, had actually viewed the film.

How did Sundance and South by Southwest respond to the controversy surrounding 'Jihad Rehab'?

Both Sundance and South by Southwest initially accepted the film but later disinvited it. Sundance, in particular, placated the film's critics by requiring Meg and her team to jump through hoops like special audits and answering written questions about funding, rather than insisting the critics watch the film first. South by Southwest also pulled the film, citing concerns about having an all-white programming team and the potential backlash.

What are the four motivations for individuals joining extremist groups, as identified in the film?

Meg Smaker identified four primary motivations: a 'cause' (defending Muslims), economic necessity (seeking income), peer pressure (family or friends' involvement), and a sense of adventure (for younger individuals seeking excitement and travel). She notes that only one of these directly relates to religion.

How did Meg Smaker gain access to the rehabilitation center and its subjects in Saudi Arabia?

Meg spent a year building relationships and back channels, as official channels in authoritative regimes are often ineffective. She was eventually allowed in with the caveat of not filming until subjects agreed. Her ability to speak Arabic with a thick Yemeni accent helped her build immediate rapport with Yemeni subjects, who had been away from their home country for 15 years, eventually leading many to agree to participate.

What were the personal and professional consequences of the film's cancellation for Meg Smaker?

Meg experienced severe emotional and financial devastation, including bouts of depression and suicidal tendencies. Her reputation was unfairly besmirched, she lost friends who turned on her or lied, and she struggled to find work, leading her to move out of her home. Many of her crew members also faced harassment and had their career opportunities jeopardized.

What role did Abigail Disney play in the controversy and the film's funding?

Abigail Disney was an early and significant investor, providing crucial funding when others refused. However, during the height of the controversy, she publicly issued an apology for her involvement and vowed to fund projects by the film's critics, which Meg viewed as a cowardly capitulation to the mob.

How is Meg Smaker planning to distribute her film now?

Meg is pursuing self-distribution, initially through a GoFundMe page to raise money for a trailer, poster, and legal fees. She plans to screen the film in a few cities and theaters to Oscar-qualify it and hopes that strong theatrical performance could still attract bigger distributors like Netflix or HBO, as her ultimate goal is for as many people as possible to see it.

What impact did the 'Jihad Rehab effect' have on the documentary industry?

According to Meg Smaker's PR consultant, the controversy surrounding 'Jihad Rehab' made film festivals and buyers hesitant to acquire films directed by individuals not from the community the film is about. This 'Jihad Rehab effect' threatens to lead to self-censorship, with institutions programming only 'safe' films and avoiding controversial but important topics.

Why did Meg Smaker refuse to apologize for her film?

After extensive due diligence and screenings with Muslim community leaders and experts, Meg believed she had done nothing wrong and that the criticisms were based on misinformation and activism rather than genuine ethical breaches. She felt apologizing would be compromising her integrity and reinforcing the lies being told about her film, the 'only thing she had left' after losing her career and reputation.

What was Meg Smaker's kidnapping experience in Colombia, and how did it influence her filmmaking?

At 23, Meg was kidnapped for about ten days in Colombia by the AUC, a paramilitary group. Witnessing acts of extreme violence and yet finding her captors to be 'normal young men and women' who had their own justifications for their actions was deeply unnerving. This experience became a catalyst for her life's trajectory, seeking to understand those labeled as 'evil-doers' and challenging simplistic good vs. bad narratives.

What is the significance of 'The Unredacted' animation and its team?

The film features 'awesome' animation, with the team comprised entirely of female animators from various backgrounds, including a new company in Brazil and a trans woman in London. Meg prioritized finding talented individuals who hadn't yet received recognition, and the film was meant to launch their careers, making the cancellation even more devastating for these emerging artists.

Key Moments

A Tale of Cancellation: A Conversation with Meg Smaker (Episode #300)

Sam Harris

Science & Technology7 min read189 min video

Oct 14, 2022|104,049 views|2,075|679

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TL;DR

Filmmaker Meg Smaker discusses her documentary "Jihad Rehab" being canceled by woke mobs due to false claims.

Key Insights

Meg Smaker, a former firefighter, was driven to understand global conflicts after 9/11, leading her to solo travels in Afghanistan, Yemen, and Somalia, and eventually to documentary filmmaking.

Her film, "Jihad Rehab" (now "The Unredacted"), explores the rehabilitation of former terrorists in Saudi Arabia, offering a deeply humanizing portrait of these men and their diverse motivations, which often extend beyond religious zeal.

Despite positive initial reception and rigorous ethical vetting, the film faced an organized and dishonest cancellation campaign, primarily from a small group of Muslim documentary filmmakers and the organization Cage.

The campaign's false accusations, including claims of Saudi propaganda, islamophobia, and lack of consent from subjects, led to the film's disinvitation from Sundance, SXSW, and an award rescinded by the San Francisco Documentary Film Festival.

Major institutions like Sundance and Abigail Disney capitulated to the pressure, demonstrating a "failure of moral courage" and setting a concerning precedent for censorship and self-censorship in the independent documentary space.

The cancellation has had devastating personal and financial consequences for Smaker and her crew, many of whom worked pro-bono or for deferred payment, highlighting the vulnerability of independent filmmakers without substantial resources.

FROM FIREFIGHTER TO FEARLESS FILMMAKER: A QUEST FOR UNDERSTANDING

Meg Smaker's journey to filmmaking began unconventionally. A dedicated firefighter, her perspective shifted dramatically after 9/11. The rise of vitriol and hatred in her firehouse prompted her to seek deeper understanding beyond mainstream media narratives. Following her intuition, Smaker independently traveled to Afghanistan, driven by a desire to comprehend the root causes of anti-American sentiment. This early experience in a war-torn country, coupled with a harrowing kidnapping in Colombia, ignited a lifelong quest to understand individuals often labeled as "evil-doers," leading her to challenging environments like Yemen and Somalia to engage directly with individuals often demonized by the media. This relentless pursuit of understanding underpins her unique approach to documentary filmmaking.

THE GENESIS OF "JIHAD REHAB": EXPLORING COMPLEX MOTIVATIONS

Smaker’s documentary, originally titled "Jihad Rehab" and later rebranded "The Unredacted," focuses on a rehabilitation program in Saudi Arabia for former terrorists, many of whom had been detained at Guantanamo Bay. Her initial interest sparked years earlier in Yemen, upon hearing about a Saudi program designed to de-radicalize former jihadists. Despite the conservative nature of Saudi Arabia, this seemingly progressive initiative intrigued her. Gaining unprecedented access, Smaker spent a year meticulously building trust and relationships within the center, interviewing over 150 men. Her goal was to humanize these individuals, presenting them not as one-dimensional villains, but as complex people shaped by diverse motivations.

BEYOND RELIGIOUS EXTREMISM: FOUR PATHWAYS TO JIHAD

Smaker's extensive interviews revealed that the motivations for joining extremist groups were far more varied than popular perception suggests. She identified four primary categories, only one of which was strictly religious. The first, "The Cause," encompasses those driven by a perceived religious duty to defend fellow Muslims, exemplified by a subject who fought in Bosnia. The second motivation was "Economic Necessity," where individuals like Nader saw jihad as a means to earn income and build a career in poverty-stricken regions. "Peer Pressure" constituted the third, with individuals like Ali joining due to the influence of family members, such as an older brother high up in Al-Qaeda. Lastly, "Sense of Adventure," particularly among younger men like Muhammad, attracted those seeking excitement and travel. This nuanced understanding challenges simplistic narratives that solely attribute radicalization to religious ideology.

THE WOKE MOB'S ATTACK: FALSE ACCUSATIONS AND COORDINATED CAMPAIGNS

Despite its compassionate and humanizing portrayal of its subjects, "Jihad Rehab" faced an organized and aggressive cancellation campaign. The attacks began almost immediately after the film's acceptance into Sundance, even before anyone had seen it. Led by a small group of Muslim documentary filmmakers and the organization Cage, the campaign leveled a barrage of false accusations. Initial claims labeled the film as "Saudi propaganda" and "funded by Saudis," despite its critical depiction of the Saudi government. As these claims proved groundless upon viewing, the narrative shifted to accusations of racism, islamophobia, unethical filmmaking practices, and a lack of informed consent from the subjects. Smaker was also criticized for being a "white lady" telling Muslim stories, ignoring her extensive experience and diverse production team.

INSTITUTIONAL CAPITULATION: SUNDANCE, SXSW, AND THE VANGAURD AWARD

The cancellation campaign proved devastatingly effective, leading to unprecedented institutional capitulation. Sundance, the prestigious film festival that had initially accepted "Jihad Rehab," not only failed to defend the film but also subjected Smaker to extensive demands, including special audits and reviews, ultimately apologizing for programming it twice. SXSW, where Smaker's previous film had won a top award, disinvited "Jihad Rehab" despite a signed contract. The San Francisco Documentary Film Festival went further, rescinding a significant "Vanguard Award" that had been offered to Smaker, all based on social media outrage from individuals who had not seen the film. This widespread retreat in the face of external pressure underscored a troubling "failure of moral courage" within the independent film community, as Smaker observed.

ABIGAIL DISNEY'S DEFECTION: A SYMBOL OF WEALTH WITHOUT RESOLVE

Film investor Abigail Disney, an early and crucial supporter of "Jihad Rehab," further exemplified the institutional capitulation. Initially a "filmmaker's dream investor" who recognized Smaker's tenacity, Disney eventually bowed to the pressure. She privately, and then publicly, issued an "abject capitulation to the mob," effectively disavowing the film and pledging support to the very groups attacking it. Smaker, while expressing empathy for the immense pressure Disney faced, critically noted that a person of Disney's immense wealth — a Disney heir — should possess the courage to withstand such campaigns. Her actions, alongside Sundance's, solidified a dangerous precedent where financial security did not translate into moral resolve against weaponized activism.

CONSEQUENCES OF CANCELLATION: PERSONAL AND PROFESSIONAL DEVASTATION

The cancellation had severe and far-reaching consequences for Meg Smaker and her team. She experienced profound emotional and mental distress, including bouts of depression and suicidal ideation, something she had never encountered despite a lifetime of dangerous experiences. Financially, Smaker was "wrecked," losing job opportunities and facing imminent relocation due to inability to afford living in the Bay Area. Beyond her personal plight, many crew members, who had worked for free or deferred payment, saw their career hopes dashed. Illustrators, cinematographers, and editors, particularly those from marginalized groups for whom this was a breakthrough opportunity, faced harassment, bullying, and pressure to remove their names from the credits. This widespread impact underscores the devastating human cost of such campaigns on independent artists.

FIGHTING BACK: REDUCED OPTIONS AND A GOFUNDME CALL TO ACTION

Despite the overwhelming obstacles, Smaker refuses to give up. The traditional distribution channels, including major platforms like Netflix and HBO, have remained silent post-New York Times article on the controversy. Her options are now largely limited to self-distribution, a costly and labor-intensive endeavor. To achieve this, she initiated a GoFundMe campaign to raise funds for essential elements like a professional trailer, posters, and legal fees. Furthermore, she secured an obscure cinema in Glendale, California, for a one-week run to Oscar-qualify the film, preventing it from being further disadvantaged by the cancellation. Smaker holds onto the hope that a successful self-distribution, coupled with positive reception, might still attract larger distributors, allowing her to repay her dedicated team and ensure broad viewership for a film she believes is vital.

THE BROADER IMPLICATIONS: THREAT TO INDEPENDENT FILM

Smaker views her experience as a critical juncture for the independent documentary industry. Historically, the independent space, exemplified by festivals like Sundance, served as a crucial platform for challenging, controversial, and difficult films that would never find a home in traditional studios. However, the capitulation of major institutions to external pressure sets a dangerous precedent. If the industry succumbs to the "Jihad rehab effect," where filmmakers not from a specific community are hesitant to tell stories about it, it risks fostering an environment of self-censorship and prioritizing "safe films." This ultimately stifles honest inquiry, limits diverse perspectives, and undermines the very purpose of independent filmmaking: to provoke thought, foster dialogue, and shed light on uncomfortable truths.

INTEGRITY IN THE FACE OF ADVERSITY: REFUSING TO APOLOGIZE

Throughout the ordeal, Smaker resolutely refused to issue an apology. Despite immense pressure from her own team and industry peers to apologize, she believed it would acknowledge and reinforce the false narratives against her film. After conducting due diligence and finding no ethical breaches, she concluded that apologizing would mean sacrificing her integrity—the "one thing I have left"—after her career, reputation, and finances had been decimated. She expressed frustration that previous filmmakers with more resources had not taken a similar stand, making her, a first-time feature filmmaker, the unlikely standard-bearer against this form of coercion. Unwilling to concede ground to what she perceives as bullying and harassment, Smaker remains unyielding, driven by the conviction that her film is honest and important.

Mentioned in This Episode

●Products

●Software & Apps

●Companies

●Organizations

●Books

●Concepts

●People Referenced

Common Questions

Meg Smaker's film, originally titled 'Jihad Rehab' and now 'The Unredacted,' follows a group of men who, after spending 15 years in Guantanamo, are sent to the world's first rehabilitation center for terrorists located in Saudi Arabia. The film offers a humanizing portrait of these men, exploring their complex motivations and life challenges.

Topics

Cancel Culture Mindset & Self-Improvement Society & Philosophy Creativity & Media War On Terror Social Justice Journalism Ethics Documentary Filmmaking Cultural Sensitivity Freedom Of Expression Terrorism Rehabilitation

Mentioned in this video

Locations

Afghanistan

First country Meg Smaker traveled to after 9/11 to understand the conflict. She also returned in 2004 and discussed warlords and fighters there.

Somalia

Country where Meg Smaker conducted research on laissez-faire economies and state-building, navigating dangerous, clan-divided areas. She went twice, once while living in Yemen and again for field research.

Pakistan

Country where Meg Smaker traveled on her way to Afghanistan in 2004, where she was followed by secret police due to kidnapping concerns. She also stayed at a firehouse there and later interviewed arms dealers.

Russia

Mentioned in the context of potential nuclear war with Ukraine.

New York City

Location where firefighters faced extreme challenges during the 9/11 attacks.

Saudi Arabia

Location of the rehabilitation program for former terrorists that Meg Smaker's film is about. Her extensive experiences and access there are discussed.

Yemen

Country where Meg Smaker lived for over four and a half years, taught firefighting, and learned Arabic, later encountering challenges with landlords and civil unrest.

Somaliland

Northern region of Somalia that declared itself independent but was not internationally recognized, leading to unique economic and political dynamics that Meg Smaker studied.

Ukraine

Mentioned in the context of recent online chatter and concerns about nuclear war with Russia.

Mogadishu

Capital city of Somalia, described as chaotic and divided by clans, which Meg Smaker navigated using her understanding of local systems.

Colombia

Country where Meg Smaker was kidnapped at 23, an experience that became a catalyst for her desire to understand 'evil-doers.'

People

Sam Harris

Host of the podcast, who introduces the episode and interviews Meg Smaker.

Melissa Chen

Mutual friend who put Meg Smaker on Sam Harris's radar, leading to the podcast interview.

Daniel Pearl

American journalist who was kidnapped and murdered in Pakistan in 2002, mentioned by Sam Harris to highlight the dangers Meg faced.

Errol Morris

Director of 'Fog of War', whose film was surprisingly on the syllabus at an Al-Qaeda training camp.

Lorena Lee

Film critic for the LA Times who is a prominent Muslim and publicly supported 'Jihad Rehab' after seeing it and having spent time in Saudi Arabia.

Graham Wood

Writer for The Atlantic, possibly doing an article on Meg Smaker's story. Meg also listened to his podcast episode.

Andrew Schulz

Comedian with a large following, mentioned as someone who could successfully self-distribute content due to his built-in audience.

Meg Smaker

A documentarian with an unusual backstory, whose film 'Jihad Rehab' (now 'The Unredacted') faced a significant cancellation campaign.

Michael Powell

Journalist who wrote a significant piece about Meg Smaker's story for The New York Times, described as an 'old school investigative journalist' who was very thorough.

Osama bin Laden

Leader of Al-Qaeda, mentioned in the context of Khalid's interview where he recounted being with Bin Laden on 9/11.

Abigail Disney

Filmmaker and heiress who was an early and significant investor in 'Jihad Rehab,' but later publicly apologized for her involvement after the controversy, an act Meg viewed as cowardly.

Ali Abdullah Saleh

Former President of Yemen mentioned as being in power during Meg Smaker's time there when the Houthis were an issue.

Dave Chappelle

Comedian mentioned as someone who has been 'canceled' but has sufficient resources to weather the storm, unlike Meg Smaker.

Louis C.K.

Comedian mentioned as having famously rebooted his career by self-distributing his material after being 'canceled.' Meg references his joke about finding out who your real friends are after cancellation.

Ali Soufan

Expert whom Meg Smaker consulted with and sent her film to, indicating his knowledge of the subject matter.

Joe Rogan

Podcaster mentioned as someone who has been 'canceled' but has sufficient resources to weather the storm, unlike Meg Smaker.

Jihadi John

British ISIS member known for beheading Westerners, whose actions were controversially attributed to British government mistreatment by CAGE.

Lawrence Wright

Expert whom Meg Smaker consulted with and sent her film to, indicating his knowledge of the subject matter.

Organizations

New York Times

Publication that covered Meg Smaker's story about the cancellation of her film. Meg also references them when describing misrepresentations of places like Yemen/Afghanistan.

The Guardian

Publication that ran an article containing false information about 'Jihad Rehab', including claims of danger to the men and unethical filmmaking practices; they refused Meg Smaker an interview and insisted on written responses.

FARC

Marxist rebel group in Colombia, whose actions against landowners were countered by the AUC, leading to cycles of violence Meg witnessed.

The Atlantic

Publication where Graham Wood works, possibly covering Meg Smaker's story.

IMF

International financial institution whose funding, or lack thereof, influenced the economic and political system in Somaliland according to Meg Smaker's research.

FDNY

The New York fire department whose members Meg Smaker trained with, highlighting the extended family nature of firefighting.

MPAC

Organization to which Sundance suggested Meg Smaker extend an invitation to discuss her film with its critics; they declined to meet or screen the film.

Houthi movement

Rebel group in Yemen mentioned as an issue during Meg Smaker's time there, with bombings occurring outside the city.

Al-Qaeda

Terrorist organization; a main character in Meg Smaker's film was a bomb maker for Al-Qaeda. Also mentioned as having a training camp with a documentary syllabus.

San Francisco State University

University where a professor wrote to the Doc Edge festival protesting the screening of Meg Smaker's film without having seen it.

CAGE

Activist group described as a 'stealth islamist organization' that attacked 'Jihad Rehab.' They promote a narrative that all Guantanamo detainees are innocent and attack any work that challenges this.

AUC

Paramilitary group that kidnapped Meg Smaker in Colombia, known for horrific violence against FARC sympathizers.

Media

Jihad Rehab

Meg Smaker's documentary film, originally titled 'Jihad Rehab,' about a rehabilitation program for former terrorists in Saudi Arabia. It was accepted by major film festivals but then disinvited due to a defamation campaign. Now retitled 'The Unredacted.'

Mad Max

Film franchise used by Meg Smaker to describe the exaggerated perception of danger in places like America (or Yemen/Afghanistan) if only news reports were consumed.

Active Killings

Film mentioned by Meg Smaker as an example of a brilliant, challenging work that never would have been made in a studio environment but was possible in the independent space.

Fog of War

Documentary by Errol Morris that was on the syllabus at an Al-Qaeda training camp, according to an interviewee in Meg's film.

Cuban Revolution

Meg Smaker's previous film made in Cuba before her latest project in Saudi Arabia.

The Unredacted

The new title for Meg Smaker's documentary film, formerly known as 'Jihad Rehab,' adopted after the controversy.

Software & Apps

Jihadrehab.com

Website for Meg Smaker's film, where her GoFundMe page is accessible for donations.

Hulu

Streaming platform mentioned as a potential traditional distributor for 'The Unredacted' (formerly 'Jihad Rehab').

Companies

Fork Films

Abigail Disney's production company, through which she invested in Meg Smaker's film.

Marriott Hotels

Hotel chain where Pakistani secret police put Meg Smaker up after fearing for her safety, which was bombed shortly after.

Hilda Motion

New animation company in Brazil, run by two women, whose work on 'Jihad Rehab' was meant to launch their careers before the film's cancellation.

GoFundMe

Crowdfunding platform Meg Smaker uses to raise money for the distribution and marketing of her film after its cancellation.

Twitter

Social media platform described as a 'cesspool of horribleness' by Meg Smaker, where nuanced conversations are difficult and much of the vitriol against her film occurred.

HBO

Television network and streaming platform mentioned as a potential traditional distributor for 'The Unredacted' (formerly 'Jihad Rehab').

LA Times

Newspaper where film critic Lorena Lee works, who publicly supported Meg Smaker's film.

Netflix

Streaming giant mentioned as a potential distributor for Meg Smaker's film, although it has not happened yet.

Concepts

Cultural appropriation

Criticism leveled against Meg Smaker, a white filmmaker, for telling stories about Muslims, despite her deep experience and collaboration with Muslim individuals.

Laissez-faire economy

Economic theory Meg Smaker researched and observed in Somaliland, where the lack of international recognition led to a more organic and healthy relationship between the government and local businesses.

Books

Documentary Magazine

Publication that printed an article with 42 factual errors about 'Jihad Rehab' written by one of the film's attackers, which they refused to correct.

The Advantages of Anarchy

Paper written by Meg Smaker based on her time in Somalia, discussing the benefits of the non-state system in Somaliland.

IndieWire

Major trade publication that initially gave 'Jihad Rehab' universally positive reviews, but later changed their wording under threat of lawsuit.

The Hollywood Reporter

Major trade publication that initially gave 'Jihad Rehab' universally positive reviews, but later changed their wording under threat of lawsuit.

Products

AK-47

Assault rifle provided to Meg Smaker by her landlord in Yemen for self-defense during riots.