WikiLeaks is a rare truth-teller. Smearing Julian Assange is shameful

WikiLeaks is a rare example of a newsgathering organisation that exposes the truth. Julian Assange is by no means alone.

Last December, I stood with supporters of WikiLeaks and Julian Assange in the bitter cold outside the Ecuadorean embassy in London. Candles were lit; the faces were young and old and from all over the world. They were there to demonstrate their human solidarity with someone whose guts they admired. They were in no doubt about the importance of what Assange had revealed and achieved, and the grave dangers he now faced. Absent entirely were the lies, spite, jealousy, opportunism and pathetic animus of a few who claim the right to guard the limits of informed public debate.

These public displays of warmth for Assange are common and seldom reported. Several thousand people packed Sydney Town Hall, with hundreds spilling into the street. In New York recently, Assange was given the Yoko Ono Lennon Courage Award. In the audience was Daniel Ellsberg, who risked all to leak the truth about the barbarism of the Vietnam war.

Like Jemima Khan, the investigative journalist Phillip Knightley, the acclaimed film director Ken Loach and others lost bail money in standing up for Assange. “The US is out to crush someone who has revealed its dirty secrets,” Loach wrote to me. “Extradition via Sweden is more than likely . . . is it difficult to choose whom to support?”

No, it is not difficult.

In the NS last week, Jemima Khan ended her support for an epic struggle for justice, truth and freedom with an article on Wiki­Leaks’s founder. To Khan, the Ellsbergs and Yoko Onos, the Loaches and Knightleys, and the countless people they represent, have all been duped. We are all “blinkered”. We are all mindlessly “devoted”. We are all “cultists”. In the final words of her j’accuse, she describes Assange as “an Australian L Ron Hubbard”. She must have known this would make a gratuitous headline, as indeed it did across the press in Australia.

I respect Jemima Khan for backing humanitarian causes, such as the Palestinians. She supports the Martha Gellhorn Prize for Journalism, of which I am a judge, and my own film-making. But her attack on Assange is specious and plays to a familiar gallery whose courage is tweeted from a smartphone.

Khan complains that Assange refused to appear in the film about WikiLeaks by the American director Alex Gibney, which she “executive produced”. Assange knew the film would be neither “nuanced” nor “fair” and “represent the truth”, as Khan wrote, and that its very title, We Steal Secrets: The Story of Wikileaks, was a gift to the fabricators of a bogus criminal indictment that could doom him to one of America’s hellholes. Having interviewed axe-grinders and turncoats, Gibney abuses Assange as paranoid. DreamWorks is also making a film about the “paranoid” Assange. Oscars all round.

The sum of Khan’s and Gibney’s attacks is that Ecuador granted him asylum without evidence. The evidence is voluminous. Assange has been declared an official “enemy” of a torturing, assassinating, rapacious state. This is clear in official files, obtained under Freedom of Information, that betray Washington’s “unprecedented” pursuit of him, together with the Australian government’s abandonment of its citizen: a legal basis for granting asylum.

Khan refers to a “long list” of Assange’s “alienated and disaffected allies”. Almost none was ever an ally. What is striking about most of these “allies” and Assange’s haters is that they exhibit the very symptoms of arrested development they attribute to a man whose resilience and good humour under extreme pressure are evident to those he trusts.

Another on the “long list” is the lawyer Mark Stephens, who charged him almost half a million pounds in fees and costs. This bill was paid from an advance on a book whose unauthorised manuscript was published by another “ally” without Assange’s knowledge or permission. When Assange moved his legal defence to Gareth Peirce, Britain’s leading human rights lawyer, he found a true ally. Khan makes no mention of the damning, irrefutable evidence that Peirce presented to the Australian government, warning how the US deliberately “synchronised” its extradition demands with pending cases and that her client faced a grave miscarriage of justice and personal danger. Peirce told the Australian consul in London in person that she had known few cases as shocking as this.

It is a red herring whether Britain or Sweden holds the greatest danger of delivering Assange to the US. The Swedes have refused all requests for guarantees that he will not be despatched under a secret arrangement with Washington; and it is the political executive in Stockholm, with its close ties to the extreme right in America, not the courts, that will make this decision.

Khan is rightly concerned about a “resolution” of the allegations of sexual misconduct in Sweden. Putting aside the tissue of falsehoods demonstrated in the evidence in this case, both women had consensual sex with Assange and neither claimed otherwise; and the Stockholm prosecutor Eva Finne all but dismissed the case.

As Katrin Axelsson and Lisa Longstaff of Women Against Rape wrote in the Guardian in August 2012, “. . . the allegations against [Assange] are a smokescreen behind which a number of governments are trying to clamp down on WikiLeaks for having audaciously revealed to the public their secret planning of wars and occupations with their attendant rape, murder and destruction . . .

“The authorities care so little about violence against women that they manipulate rape allegations at will . . . [Assange] has made it clear he is available for questioning by the Swedish authorities, in Britain or via Skype. Why are they refusing this essential step to their investigation? What are they afraid of?”

Editor's note: The full title of the film about Wikileaks "We Steal Secrets: The Story of Wikileaks" has now been included in this article.

Julian Assange. Photo: Zed Nelson/INSTITUTE

John Pilger, renowned investigative journalist and documentary film-maker, is one of only two to have twice won British journalism's top award; his documentaries have won academy awards in both the UK and the US. In a New Statesman survey of the 50 heroes of our time, Pilger came fourth behind Aung San Suu Kyi and Nelson Mandela. "John Pilger," wrote Harold Pinter, "unearths, with steely attention facts, the filthy truth. I salute him."

This article first appeared in the 18 February 2013 issue of the New Statesman, Iraq: ten years on

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The one where she turns into a USB stick: the worst uses of tech in films

The new film Worst Tinder Date Ever will join a long tradition of poorly-thought-through tech storylines.

News just in from Hollywood: someone is making a film about Tinder. What will they call it? Swipe Right, perhaps? I Super Like You? Some subtle allusion to the app’s small role in the plotline? Nope – according to Hollywood Reporterthe film has been christened Worst Tinder Date Ever.

With the exception of its heavily branded title (You’ve Got Gmail, anyone?), Worst Tinder Date Ever follows neatly in the tradition of writers manhandling tech into storylines. Because really, why does it matter if it was a Tinder date? This “rom com with action elements” reportedly focuses on the couple’s exploits after they meet on the app, so the dogged focus on it is presumably just a ploy to get millennial bums on cinema seats.  

Like the films on this list, it sounds like the tech in Worst Tinder Date Ever is just a byword for “modern and cool” – even as it demonstrates that the script is anything but.

Warning: spoilers ahead.

Lucy (2014)

Scarlett Johansson plays Lucy, a young woman who accidentally ingests large quantities of a new drug which promises to evolve your brain beyond normal human limits.

She evolves and evolves, gaining superhuman powers, until she hits peak human, and turns into first a supercomputer, and then a very long USB stick. USB-Lucy then texts Morgan Freeman's character on his fliphone to prove that: “I am everywhere.”

Beyond the obvious holes in this plotline (this wouldn’t happen if someone’s brain evolved; texting a phone is not a sign of omnipotence), USB sticks aren’t even that good – as Business Insider points out: “Flash drives are losing relevance because they can’t compete in speed and flexibility with cloud computing services . . . Flashdrives also can’t carry that much information.”

Star Wars: The Force Awakens (2015)

If you stare at it hard enough, the plotline in the latest Star Wars film boils down to the following: a gaggle of people travels across space in order to find a map showing Luke Skywalker’s location, held on a memory stick in a drawer in a spherical robot. Yep, those pesky flash drives again.

It later turns out that the map is incomplete, and the rest of it is in the hands of another robot, R2-D2, who won’t wake up for most of the film in order to spit out the missing fragment. Between them, creator George Lucas and writer and director JJ Abrams have dreamed up a dark vision of the future in which robots can talk and make decisions, but can’t email you a map.

Willy Wonka and the Chocolate Factory (1971)

In which a scientist uses a computer to find the “precise location of the three remaining golden tickets sent out into the world by Willy Wonka. When he asks it to spill the beans, it announces: “I won’t tell, that would be cheating.


Image: Paramount Pictures. 

The film inhabits a world where artificial intelligence has been achieved, but no one has thought to pull Charlie's poor grandparents out of extreme poverty, or design a computer with more than three buttons.

Independence Day (1996)

When an alien invasion threatens Earth, David Levinson (Jeff Goldblum) manages to stop it by hacking the alien spaceship and installing a virus. Using his Mac. Amazing, really, that aliens from across the universe would somehow use computing systems so similar to our own. 

Skyfall (2012)

In the Daniel Craig reboot of the series, MI6’s “Q” character (played by Ben Whishaw) becomes a computer expert, rather than just a gadget wizard. Unfortunately, this heralded some truly cringeworthy moments of “hacking” and “coding” in both Skyfall and Spectre (2014).

In the former, Bond and Q puzzle over a screen filled with a large, complex, web shape. They eventually realise it’s a map of subterranean London, but then the words security breach flash up, along with a skull. File under “films which make up their own operating systems because a command prompt box on a Windows desktop looks too boring”.

An honourable mention: Nelly and Kelly Rowland’s “Dilemma” (2009)

Not a movie, but how could we leave out a music video in which Kelly Rowland texts Nelly on a Microsoft Excel spreadsheet on a weird Nokia palm pilot?


Image: Vevo.

You’ll be waiting a long time for that response, Kelly. Try Tinder instead.

Barbara Speed is a technology and digital culture writer at the New Statesman and a staff writer at CityMetric.