Facebook’s language gaps weaken screening of hate, terrorism

Facebook reported internally it had erred in nearly half of all Arabic language takedown requests submitted for appeal. (File/AFP)
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Updated 25 October 2021
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Facebook’s language gaps weaken screening of hate, terrorism

  • Arabic poses particular challenges to Facebook’s automated systems and human moderators, each of which struggles to understand spoken dialects
  • In some of the world’s most volatile regions, terrorist content and hate speech proliferate because Facebook remains short on moderators who speak local languages and understand cultural contexts

DUBAI: As the Gaza war raged and tensions surged across the Middle East last May, Instagram briefly banned the hashtag #AlAqsa, a reference to the Al-Aqsa Mosque in Jerusalem’s Old City, a flash point in the conflict.
Facebook, which owns Instagram, later apologized, explaining its algorithms had mistaken the third-holiest site in Islam for the militant group Al-Aqsa Martyrs Brigade, an armed offshoot of the secular Fatah party.
For many Arabic-speaking users, it was just the latest potent example of how the social media giant muzzles political speech in the region. Arabic is among the most common languages on Facebook’s platforms, and the company issues frequent public apologies after similar botched content removals.
Now, internal company documents from the former Facebook product manager-turned-whistleblower Frances Haugen show the problems are far more systemic than just a few innocent mistakes, and that Facebook has understood the depth of these failings for years while doing little about it.
Such errors are not limited to Arabic. An examination of the files reveals that in some of the world’s most volatile regions, terrorist content and hate speech proliferate because the company remains short on moderators who speak local languages and understand cultural contexts. And its platforms have failed to develop artificial-intelligence solutions that can catch harmful content in different languages.
In countries like Afghanistan and Myanmar, these loopholes have allowed inflammatory language to flourish on the platform, while in Syria and the Palestinian territories, Facebook suppresses ordinary speech, imposing blanket bans on common words.
“The root problem is that the platform was never built with the intention it would one day mediate the political speech of everyone in the world,” said Eliza Campbell, director of the Middle East Institute’s Cyber Program. “But for the amount of political importance and resources that Facebook has, moderation is a bafflingly under-resourced project.”
This story, along with others published Monday, is based on Haugen’s disclosures to the Securities and Exchange Commission, which were also provided to Congress in redacted form by her legal team. The redacted versions were reviewed by a consortium of news organizations, including The Associated Press.
In a statement to the AP, a Facebook spokesperson said that over the last two years the company has invested in recruiting more staff with local dialect and topic expertise to bolster its review capacity around the world.
But when it comes to Arabic content moderation, the company said, “We still have more work to do. ... We conduct research to better understand this complexity and identify how we can improve.”
In Myanmar, where Facebook-based misinformation has been linked repeatedly to ethnic and religious violence, the company acknowledged in its internal reports that it had failed to stop the spread of hate speech targeting the minority Rohingya Muslim population.
The Rohingya’s persecution, which the US has described as ethnic cleansing, led Facebook to publicly pledge in 2018 that it would recruit 100 native Myanmar language speakers to police its platforms. But the company never disclosed how many content moderators it ultimately hired or revealed which of the nation’s many dialects they covered.
Despite Facebook’s public promises and many internal reports on the problems, the rights group Global Witness said the company’s recommendation algorithm continued to amplify army propaganda and other content that breaches the company’s Myanmar policies following a military coup in February.
In India, the documents show Facebook employees debating last March whether it could clamp down on the “fear mongering, anti-Muslim narratives” that Prime Minister Narendra Modi’s far-right Hindu nationalist group, Rashtriya Swayamsevak Sangh, broadcasts on its platform.
In one document, the company notes that users linked to Modi’s party had created multiple accounts to supercharge the spread of Islamophobic content. Much of this content was “never flagged or actioned,” the research found, because Facebook lacked moderators and automated filters with knowledge of Hindi and Bengali.
Arabic poses particular challenges to Facebook’s automated systems and human moderators, each of which struggles to understand spoken dialects unique to each country and region, their vocabularies salted with different historical influences and cultural contexts.
The Moroccan colloquial Arabic, for instance, includes French and Berber words, and is spoken with short vowels. Egyptian Arabic, on the other hand, includes some Turkish from the Ottoman conquest. Other dialects are closer to the “official” version found in the Qur’an. In some cases, these dialects are not mutually comprehensible, and there is no standard way of transcribing colloquial Arabic.
Facebook first developed a massive following in the Middle East during the 2011 Arab Spring uprisings, and users credited the platform with providing a rare opportunity for free expression and a critical source of news in a region where autocratic governments exert tight controls over both. But in recent years, that reputation has changed.
Scores of Palestinian journalists and activists have had their accounts deleted. Archives of the Syrian civil war have disappeared. And a vast vocabulary of everyday words have become off-limits to speakers of Arabic, Facebook’s third-most common language with millions of users worldwide.
For Hassan Slaieh, a prominent journalist in the blockaded Gaza Strip, the first message felt like a punch to the gut. “Your account has been permanently disabled for violating Facebook’s Community Standards,” the company’s notification read. That was at the peak of the bloody 2014 Gaza war, following years of his news posts on violence between Israel and Hamas being flagged as content violations.
Within moments, he lost everything he’d collected over six years: personal memories, stories of people’s lives in Gaza, photos of Israeli airstrikes pounding the enclave, not to mention 200,000 followers. The most recent Facebook takedown of his page last year came as less of a shock. It was the 17th time that he had to start from scratch.
He had tried to be clever. Like many Palestinians, he’d learned to avoid the typical Arabic words for “martyr” and “prisoner,” along with references to Israel’s military occupation. If he mentioned militant groups, he’d add symbols or spaces between each letter.
Other users in the region have taken an increasingly savvy approach to tricking Facebook’s algorithms, employing a centuries-old Arabic script that lacks the dots and marks that help readers differentiate between otherwise identical letters. The writing style, common before Arabic learning exploded with the spread of Islam, has circumvented hate speech censors on Facebook’s Instagram app, according to the internal documents.
But Slaieh’s tactics didn’t make the cut. He believes Facebook banned him simply for doing his job. As a reporter in Gaza, he posts photos of Palestinian protesters wounded at the Israeli border, mothers weeping over their sons’ coffins, statements from the Gaza Strip’s militant Hamas rulers.
Criticism, satire and even simple mentions of groups on the company’s Dangerous Individuals and Organizations list — a docket modeled on the US government equivalent — are grounds for a takedown.
“We were incorrectly enforcing counterterrorism content in Arabic,” one document reads, noting the current system “limits users from participating in political speech, impeding their right to freedom of expression.”
The Facebook blacklist includes Gaza’s ruling Hamas party, as well as Hezbollah, the militant group that holds seats in Lebanon’s Parliament, along with many other groups representing wide swaths of people and territory across the Middle East, the internal documents show, resulting in what Facebook employees describe in the documents as widespread perceptions of censorship.
“If you posted about militant activity without clearly condemning what’s happening, we treated you like you supported it,” said Mai el-Mahdy, a former Facebook employee who worked on Arabic content moderation until 2017.
In response to questions from the AP, Facebook said it consults independent experts to develop its moderation policies and goes “to great lengths to ensure they are agnostic to religion, region, political outlook or ideology.”
“We know our systems are not perfect,” it added.
The company’s language gaps and biases have led to the widespread perception that its reviewers skew in favor of governments and against minority groups.
Former Facebook employees also say that various governments exert pressure on the company, threatening regulation and fines. Israel, a lucrative source of advertising revenue for Facebook, is the only country in the Mideast where Facebook operates a national office. Its public policy director previously advised former right-wing Prime Minister Benjamin Netanyahu.
Israeli security agencies and watchdogs monitor Facebook and bombard it with thousands of orders to take down Palestinian accounts and posts as they try to crack down on incitement.
“They flood our system, completely overpowering it,” said Ashraf Zeitoon, Facebook’s former head of policy for the Middle East and North Africa region, who left in 2017. “That forces the system to make mistakes in Israel’s favor. Nowhere else in the region had such a deep understanding of how Facebook works.”
Facebook said in a statement that it fields takedown requests from governments no differently from those from rights organizations or community members, although it may restrict access to content based on local laws.
“Any suggestion that we remove content solely under pressure from the Israeli government is completely inaccurate,” it said.
Syrian journalists and activists reporting on the country’s opposition also have complained of censorship, with electronic armies supporting embattled President Bashar Assad aggressively flagging dissident content for removal.
Raed, a former reporter at the Aleppo Media Center, a group of antigovernment activists and citizen journalists in Syria, said Facebook erased most of his documentation of Syrian government shelling on neighborhoods and hospitals, citing graphic content.
“Facebook always tells us we break the rules, but no one tells us what the rules are,” he added, giving only his first name for fear of reprisals.
In Afghanistan, many users literally cannot understand Facebook’s rules. According to an internal report in January, Facebook did not translate the site’s hate speech and misinformation pages into Dari and Pashto, the two most common languages in Afghanistan, where English is not widely understood.
When Afghan users try to flag posts as hate speech, the drop-down menus appear only in English. So does the Community Standards page. The site also doesn’t have a bank of hate speech terms, slurs and code words in Afghanistan used to moderate Dari and Pashto content, as is typical elsewhere. Without this local word bank, Facebook can’t build the automated filters that catch the worst violations in the country.
When it came to looking into the abuse of domestic workers in the Middle East, internal Facebook documents acknowledged that engineers primarily focused on posts and messages written in English. The flagged-words list did not include Tagalog, the major language of the Philippines, where many of the region’s housemaids and other domestic workers come from.
In much of the Arab world, the opposite is true — the company over-relies on artificial-intelligence filters that make mistakes, leading to “a lot of false positives and a media backlash,” one document reads. Largely unskilled human moderators, in over their heads, tend to passively field takedown requests instead of screening proactively.
Sophie Zhang, a former Facebook employee-turned-whistleblower who worked at the company for nearly three years before being fired last year, said contractors in Facebook’s Ireland office complained to her they had to depend on Google Translate because the company did not assign them content based on what languages they knew.
Facebook outsources most content moderation to giant companies that enlist workers far afield, from Casablanca, Morocco, to Essen, Germany. The firms don’t sponsor work visas for the Arabic teams, limiting the pool to local hires in precarious conditions — mostly Moroccans who seem to have overstated their linguistic capabilities. They often get lost in the translation of Arabic’s 30-odd dialects, flagging inoffensive Arabic posts as terrorist content 77 percent of the time, one document said.
“These reps should not be fielding content from non-Maghreb region, however right now it is commonplace,” another document reads, referring to the region of North Africa that includes Morocco. The file goes on to say that the Casablanca office falsely claimed in a survey it could handle “every dialect” of Arabic. But in one case, reviewers incorrectly flagged a set of Egyptian dialect content 90 percent of the time, a report said.
Iraq ranks highest in the region for its reported volume of hate speech on Facebook. But among reviewers, knowledge of Iraqi dialect is “close to non-existent,” one document said.
“Journalists are trying to expose human rights abuses, but we just get banned,” said one Baghdad-based press freedom activist, who spoke on condition of anonymity for fear of reprisals. “We understand Facebook tries to limit the influence of militias, but it’s not working.”
Linguists described Facebook’s system as flawed for a region with a vast diversity of colloquial dialects that Arabic speakers transcribe in different ways.
“The stereotype that Arabic is one entity is a major problem,” said Enam Al-Wer, professor of Arabic linguistics at the University of Essex, citing the language’s “huge variations” not only between countries but class, gender, religion and ethnicity.
Despite these problems, moderators are on the front lines of what makes Facebook a powerful arbiter of political expression in a tumultuous region.
Although the documents from Haugen predate this year’s Gaza war, episodes from that 11-day conflict show how little has been done to address the problems flagged in Facebook’s own internal reports.
Activists in Gaza and the West Bank lost their ability to livestream. Whole archives of the conflict vanished from newsfeeds, a primary portal of information for many users. Influencers accustomed to tens of thousands of likes on their posts saw their outreach plummet when they posted about Palestinians.
“This has restrained me and prevented me from feeling free to publish what I want for fear of losing my account,” said Soliman Hijjy, a Gaza-based journalist whose aerials of the Mediterranean Sea garnered tens of thousands more views than his images of Israeli bombs — a common phenomenon when photos are flagged for violating community standards.
During the war, Palestinian advocates submitted hundreds of complaints to Facebook, often leading the company to concede error and reinstate posts and accounts.
In the internal documents, Facebook reported it had erred in nearly half of all Arabic language takedown requests submitted for appeal.
“The repetition of false positives creates a huge drain of resources,” it said.
In announcing the reversal of one such Palestinian post removal last month, Facebook’s semi-independent oversight board urged an impartial investigation into the company’s Arabic and Hebrew content moderation. It called for improvement in its broad terrorism blacklist to “increase understanding of the exceptions for neutral discussion, condemnation and news reporting,” according to the board’s policy advisory statement.
Facebook’s internal documents also stressed the need to “enhance” algorithms, enlist more Arab moderators from less-represented countries and restrict them to where they have appropriate dialect expertise.
“With the size of the Arabic user base and potential severity of offline harm … it is surely of the highest importance to put more resources to the task to improving Arabic systems,” said the report.
But the company also lamented that “there is not one clear mitigation strategy.”
Meanwhile, many across the Middle East worry the stakes of Facebook’s failings are exceptionally high, with potential to widen long-standing inequality, chill civic activism and stoke violence in the region.
“We told Facebook: Do you want people to convey their experiences on social platforms, or do you want to shut them down?” said Husam Zomlot, the Palestinian envoy to the United Kingdom, who recently discussed Arabic content suppression with Facebook officials in London. “If you take away people’s voices, the alternatives will be uglier.”


Gaza’s Hamas rulers say 3 journalists killed in Israeli raids

Updated 02 December 2023
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Gaza’s Hamas rulers say 3 journalists killed in Israeli raids

  • Gaza’s deadliest war began when Hamas militants on October 7 launched a shock attack on southern Israel, killing 1,200 people, mostly civilians, according to Israeli officials

GAZA STRIP, Palestinian Territories: Gaza’s Hamas-run government said three journalists were killed in Israeli raids on Friday as fierce fighting resumed after a week-long truce.
The government press office identified the three as cameraman Muntassir Al-Sawwaf, who worked for Turkiye’s Anadolu state news agency, his brother Marwan, who worked as a soundman, and cameraman Abdullah Darwish.
It said their deaths brought to 73 the number of journalists killed since the war began on October 7.
The Turkish agency confirmed Friday the death of Sawwaf and two others who it did not name in southern Gaza.
“We are concerned about the lives of our colleagues, who fulfil their duties with great devotion under very difficult conditions,” Anadolu general director Serdar Karagoz said.
“We will continue our struggle to ensure that those who carried out these attacks are held to account.”
The Committee to Protect Journalists (CPJ) said earlier Friday that at least 57 journalists and media workers had died since the start of the war.
Gaza’s deadliest war began when Hamas militants on October 7 launched a shock attack on southern Israel, killing 1,200 people, mostly civilians, according to Israeli officials.
Israel responded with an air and artillery assault on the Gaza Strip that it said aimed to topple Hamas and return more than 240 hostages.
The Hamas-run health ministry in Gaza said at least 178 people had died in the territory since a seven-day pause in hostilities expired early Friday and ground battles and Israel air strikes resumed.
During the truce, Hamas freed 80 Israeli hostages in exchange for 240 Palestinian prisoners.
Hamas authorities say the Israeli campaign has killed more than 15,000 people, mostly civilians.

 


Spotify names Taylor Swift as Kingdom’s most-streamed artist of 2023

Updated 01 December 2023
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Spotify names Taylor Swift as Kingdom’s most-streamed artist of 2023

  • Adele’s ‘Set Fire to the Rain’ most popular song among Saudi listeners
  • Abdul Majeed Abdullah takes top spot on Arab artists list

DUBAI: Audio streaming service Spotify this week released its annual roundup of the most popular artists, songs, albums and podcasts streamed in each country over the past year.

“From gaming playlists reigning supreme to the fascinating connection between global music trends and local podcasts, it’s evident that Saudi audiences are not only embracing the world but also cherishing their roots, especially in the realms of Khaleeji music and the ever-expanding world of podcasts,” said Akshat Harbola, managing director for the Middle East, North Africa and South Asia.

This year’s Wrapped report marks five years since Spotify launched in the MENA region. In that time, streams of female artists in the Kingdom have grown by 9,150 percent, with Taylor Swift the most popular of all.

Assala Nasri and Sherine took the fifth and 10th spots on the most-streamed Arab artists in the Kingdom, while Balqees’s “Da Elly 7sal” ranked third and “Alfin Bab” by Oumaima Taleb eighth on the most-streamed Arabic songs list.

International artists dominated the most-streamed artists in Saudi Arabia, with Taylor Swift, The Weeknd and Lana Del Rey filling the top three places.

Saudis’ affinity for international music was also reflected in the lists of the most-streamed songs and albums.

Adele’s “Set Fire to the Rain,” Jung Kook’s “Seven” and Interworld’s “Metamorphosis” were the top three most-streamed songs in the Kingdom, while The Weeknd’s “Starboy,” Metro Boomin’s “Heroes and Villains” and Adele’s “21” were the most-streamed albums.

Most-streamed Arab artists in Saudi Arabia

  1. Abdul Majeed Abdullah
  2. Rashed Al-Majed
  3. Khaled Abdul Rahman
  4. Ayed
  5. Assala Nasri
  6. Majid Almohandis
  7. Mohammed Abdu
  8. Ahmed Saad
  9. Abadi Al Johar
  10. Sherine

Most-streamed artists in Saudi Arabia

  1. Taylor Swift
  2. The Weeknd
  3. Lana Del Rey
  4. Drake
  5. BTS
  6. Travis Scott
  7. Cigarettes After Sex
  8. Metro Boomin
  9. Abdul Majeed Abdullah
  10. Jung Kook

Most-streamed songs in Saudi Arabia

  1. “Set Fire to the Rain” by Adele
  2. “Seven” (feat. Latto) (Explicit Ver.) by Jung Kook
  3. “Metamorphosis” by Interworld
  4. “Kill Bill” by SZA
  5. “Alo Aleky” by Mohammed Saeed
  6. “Snowfall” by Oneheart
  7. “Another Love” by Tom Odell
  8. “I Wanna Be Yours” by Arctic Monkeys
  9. “Cupid” Twin Ver. by Fifty Fifty
  10. “Like Crazy” by Jimin

Most-streamed albums in Saudi Arabia

  1. “Starboy” by The Weeknd
  2. “Heroes & Villains” by Metro Boomin
  3. “21” by Adele
  4. “Midnights” by Taylor Swift
  5. “SOS” by SZA
  6. “Born To Die — The Paradise Edition” by Lana Del Rey
  7. “Cigarettes After Sex” by Cigarettes After Sex
  8. “After Hours” by The Weeknd
  9. “Proof” by BTS
  10. “1989” by Taylor Swift

Spotify users can access their personalized Wrapped experience on its mobile app and website.


Californian council meeting goes viral online after residents defend Hamas

Updated 01 December 2023
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Californian council meeting goes viral online after residents defend Hamas

  • Speakers express support for militant group as Oakland council members vote for ‘immediate ceasefire’ in Israel-Hamas war

LONDON: A recent city council meeting in Oakland, California went viral online after speakers defended militant group Hamas.

And following debate, council members voted for an immediate ceasefire in the Israel-Hamas war.

In a clip shared online, one person attending the meeting said: “Calling Hamas a terrorist organization is ridiculous, racist, and plays into genocidal propaganda that is flooding our media and that we should be doing everything possible to combat.”

 

Another speaker referred to the group as a “resistance organization that is fighting for the liberation of Palestinian people in their land.”

Tye Gregory of the Jewish Community Relations Council Bay Area later told The Jewish News of Northern California that the meeting had been the “most antisemitic room I have ever been in.”

British journalist Piers Morgan shared the video on X and accused the commenters of being “brazen terrorist sympathizers.”

During the city council meeting, lawmakers unanimously approved a resolution calling for an “immediate ceasefire” in the conflict, the unrestricted entry of humanitarian assistance into Gaza, the restoration of food, water, electricity, and medical supplies to the Strip, and respect for international law.

They also called for a resolution that protected the security of all innocent civilians.


Over 1,000 artists, including Olivia Colman, accuse art institutions of censoring support for Palestine

Updated 01 December 2023
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Over 1,000 artists, including Olivia Colman, accuse art institutions of censoring support for Palestine

LONDON: More than 1,300 artists, including Academy Award winner Olivia Colman and BAFTA winners Aimee Lou Wood and Siobhan McSweeney, signed an open letter on Thursday accusing cultural institutions across Western countries of “repressing, silencing and stigmatizing Palestinian voices and perspectives.” 

This includes “targeting and threatening the livelihoods of artists and arts workers who express solidarity with Palestinians, as well as cancelling performances, screenings, talks, exhibitions and book launches,” they said in the letter.

“Despite this pressure, artists in their thousands are following their conscience and continuing to speak out. Freedom of expression, as enshrined in the Human Rights Act and the European Convention of Human Rights, is the backbone of our creative lives, and fundamental to democracy.”

The letter cites several examples of censorship such as Lisson Gallery’s so-called postponement of a London exhibition by Ai Weiwei, Folkwang Museum’s last-minute cancellation of Anais Duplan’s Afrofuturism exhibition, as well as Saarland Museum’s cancellation of Candida Brietz’s solo exhibition in Germany. 

In addition, Hollywood producers announced their decision to remove actress Melissa Barrero from “Scream VII.”

In every instance, the organization stated that the reason for the cancellation was the artists’ support for Palestine, which is unrelated to their professional work.

Last month, the publicly funded Arnolfini, an international arts center and gallery in Bristol, decided not to hold film and spoken word poetry events organized by the Bristol Palestine Film Festival, due to claims the events might “stray into political activity.” 

The events have since been moved to other venues in the city. 

Letter signatory Hassan Abulrazzak, whose play “And Here I Am” is based on the life of a Palestinian actor, was canceled in Paris in October. 

He said: “This censorship is as frustrating as it is wrongheaded. Now is the time to listen to Palestinians, to understand what their lives are like.”

Film directors Emma Seligman, Hany Abu-Assad and Ken Loach, among many others, urged arts organizations to join calls for a permanent ceasefire and to “stand up for artists and workers who voice their support for Palestinian rights.” 

They accused arts organizations of a “disturbing double standard,” saying that “expressions of solidarity readily offered to other peoples facing brutal oppression have not been extended to Palestinians.” 

The letter calls on the arts and culture sector to publicly demand a permanent ceasefire, promote and amplify the voices of Palestinian artists, writers, and thinkers, stand up for artists and workers who voice their support for Palestinian rights and refuse collaborations with institutions or bodies that are complicit in severe human rights violations.

Award-winning composer Jocelyn Pook, Robert del Naja, David Sylvian and many others said they “stand in solidarity with those facing threats and intimidation in the workplace.”

They went on to warn that “many artists are refusing to work with institutions that fail to meet (these) basic obligations” to uphold freedom of expression and anti-discrimination when it comes to speech on Palestine. 

Two thousand poets announced a boycott of the Poetry Foundation in the US after its magazine refused to publish a book review it had commissioned. 

Artforum magazine is also facing significant backlash as artists and writers from around the world express their refusal to collaborate with the publication. 

Additionally, its editorial team has stepped down in protest following the dismissal of editor David Velasco, who had published a letter signed by 8,000 artists that called for a ceasefire and for “Palestinian liberation.”

Last Friday, UN experts said in a statement: “People have the right to express solidarity with victims of grave human rights violations and demand justice, whether from one side or the other or both.”

They added: “Some artists have been deprogrammed and censored for calling for peace, others have lost their jobs, and some artists have been silenced or side-lined by their own cultural organizations and artistic communities.”


‘Now, we can engage with our customers throughout the day,’ says OSN Group CEO on new Anghami-OSN+ deal

Updated 01 December 2023
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‘Now, we can engage with our customers throughout the day,’ says OSN Group CEO on new Anghami-OSN+ deal

  • New company will be powered by an integrated technology platform

DUBAI: Last month, OSN Group announced an investment of $50 million in local audio streaming app Anghami, which will see its streaming service OSN+ and Anghami merge to form one entity.

The deal, currently subject to regulatory approval, is expected to be completed before the end of the first quarter of 2024, combining over 120 million Anghami registered users and more than 2.5 million OSN+ paying subscribers.

“The move helps us scale very quickly,” Joe Kawkabani, CEO of OSN Group, told Arab News.

The new company will be powered by an integrated technology platform on the back end, which will “allow us to be more agile in terms of serving our customers and giving them a superior technological experience,” he said.

OSN is, however, taking its time to decide what the front end will look like. Both brands have different strengths; OSN+ is well known for premium video content, particularly in the Gulf, while Anghami is well known in West Africa and Levant, Kawkabani added.

“We want to leverage the strength of both brands and take our time to see what our customers want and make decisions accordingly,” he said.

This means that the companies have not yet decided whether they will merge both apps into one or introduce content from either platform on the other or some combination of the two.

Part of the uncertainty is intentional, Kawkabani said. “We have massive scale and great content, so we have all the right ingredients to go effectively wherever we want from here.”

He added: “I like to create strategic moves that give us the flexibility, and honestly at that point, we have to just listen to what the customer wants.”

The deal also “gives us an opportunity, through the combination of music and video, to engage our customers throughout the day,” he said.

The time and method of consuming audio and video formats can vary vastly, with audiences listening to music and podcasts while commuting, for example, and tuning into video formats like TV shows and movies at the end of the day, he explained.

“Now, we can engage with our customers throughout the day, and that will help us build a very robust foundation for our business,” he added.

And that is what ultimately matters to OSN. As Kawkabani put it: “We care a lot about engaged and happy customers.”

Approximately 37 percent of OSN’s customers in the Gulf are purely cord-cutters, while 23 percent are primarily traditional TV viewers and the remaining 40 percent are hybrid viewers, meaning that they consume content on streaming platforms as well as linear TV channels, Kawkabani explained.

The company has made several investments to cater to these various segments, such as launching an upgraded version of the OSNtv box this June, which provides both live TV and streaming channels through one device.

Western content performs extremely well in the Middle East, said Kawkabani. Christopher Nolan’s “Oppenheimer,” for example, broke the 2023 record for advanced ticket sales in Saudi Arabia.

OSN has capitalized well on this success, building exclusive partnerships with international studios such as HBO, NBC Universal, and Paramount.

When it comes to original content, the streamer wants to do more but is focused on quality over quantity, and that takes “time and patience” to build the kind of slate that can sit comfortably with other premium shows in its library, said Kawkabani.

Its first original feature film, “Yellow Bus,” premiered at the Toronto International Film Festival this year where it was one of the 26 titles featured in TIFF’s Discovery program.

Kawkabani was reluctant to name a number when it came to upcoming originals “because managing volume on a streaming service is different than managing volume on a linear service,” with the former allowing streamers to produce based on audience feedback and the latter requiring broadcasters to account for the number of hours they need to fill.

He said: “There is no fixed percentage we’re working towards, but we’re going to keep on increasing year on year, quarter over quarter as we find new projects.”

Although global companies like Netflix produce hundreds of originals every year — with several local partnerships now in effect in the Middle East — Kawkabani remains unfazed.

“What they do doesn’t dictate what we do,” he said.

“We don’t try to emulate or follow the footsteps of others. We believe that from a local perspective, we have a better vantage point. We are from the region,” he added.

Bringing together its array of Western as well as regional content — such as Turkish shows dubbed in Arabic that are popular among audiences — with its local background, Kawkabani views OSN as a “gateway” for international companies in the region.

He also believes there is an opportunity in the Middle East for “premium local stories” and that is where “OSN can play a role in producing and broadcasting.”

The need for a “strong local streamer” is critical, especially as the number of streaming services increases, he said.

“Being a successful streamer and offering content worthy of subscriptions — or their (consumers’) time and engagement — is very hard, so we feel that we need to be one of the top two or three apps that customers use frequently and repeatedly,” he concluded.