Backlash for Charlie Hebdo cartoon mocking Turkiye earthquake

Social media users slammed Charlie Hebdo for mocking the pain of thousands of innocent victims. (Twitter/Sourced)
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Updated 09 February 2023
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Backlash for Charlie Hebdo cartoon mocking Turkiye earthquake

  • The magazine shared on the day of the quake a drawing gloating over the death of thousands
  • Commentators described the cartoon as "racist" and "vile"

LONDON: A cartoon scoffing at the deadly earthquake that has killed more than 11,000 people in Turkiye and Syria has received a severe backlash online for its insensitivity.

French satirical magazine Charlie Hebdo published a cartoon captioned “drawing of the day” and showing collapsed buildings and piles of rubble with “earthquake in Turkiye” written on top and “no need to send tanks” at the bottom, sparking outrage on social media as well as criticism from journalists.

Many deemed the cartoon “racist” and “vile,” condemning it for mocking the pain of thousands of innocent victims.

“Just vile, racist, and immensely insensitive,” tweeted Islamophobia scholar Khaled Beydoun.

“It is really disgusting to make fun of the suffering of others and far from the ethics of journalism, assuming it sticks to it, and I doubt it,” wrote Abdulla Al-Amadi in a tweet.

Lebanese journalist Giselle Khoury described the cartoon as “shameful,” demanding the magazine explain how this constituted “freedom of expression.”

Rana Abi Jomaa, also a Lebanese journalist, wrote that “there are no limits to Charlie Hebdo’s racism,” wondering “who would defend this abhorrent satirical French magazine after today?”

“Charlie Hebdo is faithful to its famous hate speech, bigotry, mediocre unethical journalism and colonialist scorn,” wrote Tunisian journalist Mourad Teyeb. “Nothing to do with press freedom!”

Khalil Rammal, on social media, denounced the magazine’s “racist” cartoon, namely for “gloating over” the tragedy of thousands.

Challenging the outrageous cartoon, Ouissal Harize shared a video of a rescued toddler who lost his family in the catastrophe, and wrote: “This is the tragedy you are mocking.” 

Another user, Shireen Mazari, wrote: “Hatred and Islamophobia at its peak when a natural disaster draws this kind of reaction from Charlie Hebdo! Sickening to the core.”

Commentators recounted the Jan. 7, 2015, attack on Charlie Hebdo’s headquarters in Paris, reminding the magazine of its demand for global support under the slogan “Je suis Charlie.”

“Mocking a natural disaster with the death of thousands and the complete destruction of infrastructure in an already fragile state with ‘didn't even need to send tanks’ is everything I need to know about ‘Je suis Charlie.’ Inhumane,” wrote Twitter user Yasmeen.

Political analyst Oznur Sirene reminded the magazine of how many Turks showed solidarity following the 2015 attack, only to be rewarded with mockery.

“Today you dare mock the suffering of an entire people,” she wrote. “One must really have some nerve to do this while there are still babies waiting to be rescued.”

Others condemned the magazine for “having a history of mocking victims of catastrophe,” with several resharing the cartoon that made fun of Italy’s earthquake in 2016.

Charlie Hebdo received a backlash for a cartoon it shared in September 2016 mocking the victims of the 6.2 magnitude earthquake that hit Italy at the time. Shortly after, the magazine shared another cartoon demonizing critics.

In January 2016 the magazine published a cartoon making fun of Alan Kurdi, the Syrian child whose body was found on a Greek beach in 2015. 

People in Turkiye and Syria woke up on Monday to a deadly magnitude 7.8 earthquake, which killed more than 11,000 people, according to CNN, and destroyed thousands of buildings.

Syria’s devastated infrastructure and freezing weather conditions are obstructing rescue operations, which have been ongoing since the disaster struck.


Paris exhibition marks 200 years of Le Figaro and the enduring power of the press

Updated 17 January 2026
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Paris exhibition marks 200 years of Le Figaro and the enduring power of the press

  • The exhibition celebrated the bicentennial of Le Figaro, offering visitors a rare opportunity to step inside the newspaper’s vast historical archive

PARIS: One of France’s most influential newspapers marked a major milestone this month with a landmark exhibition beneath the soaring glass nave of the Grand Palais, tracing two centuries of journalism, literature and political debate.
Titled 1826–2026: 200 years of freedom, the exhibition celebrated the bicentennial of Le Figaro, offering visitors a rare opportunity to step inside the newspaper’s vast historical archive. Held over three days in mid-January, the free exhibition drew large crowds eager to explore how the title has both chronicled and shaped modern French history.
More than 300 original items were displayed, including historic front pages, photographs, illustrations and handwritten manuscripts. Together, they charted Le Figaro’s evolution from a 19th-century satirical publication into a leading national daily, reflecting eras of revolution, war, cultural change and technological disruption.
The exhibition unfolded across a series of thematic spaces, guiding visitors through defining moments in the paper’s past — from its literary golden age to its role in political debate and its transition into the digital era. Particular attention was paid to the newspaper’s long association with prominent writers and intellectuals, underscoring the close relationship between journalism and cultural life in France.
Beyond the displays, the program extended into live journalism. Public editorial meetings, panel discussions and film screenings invited audiences to engage directly with editors, writers and media figures, turning the exhibition into a forum for debate about the future of the press and freedom of expression.
Hosted at the Grand Palais, the setting itself reinforced the exhibition’s ambition: to place journalism firmly within the country’s cultural heritage. While the exhibition has now concluded, the bicentennial celebrations continue through special publications and broadcasts, reaffirming Le Figaro’s place in France’s public life — and the enduring relevance of a free and questioning press in an age of rapid change.