Capitalism, Michael Sandel and Michael Moore

Doha diary, part 1

I didn't arrive in Doha yesterday in time for the inauguration of the Doha Tribeca Film Festival at I M Pei's wonderful Museum of Islamic Art, which looks out over the Doha Sea at one end of the Corniche. So I missed seeing Martin Scorsese, Jeff Koons and Robert de Niro, among others, treading the red carpet ahead of a screening of Mira Nair's film Amelia, which stars Hilary Swank as the pioneering aviator Amelia Earhart.

I missed the festival after-party at the Four Seasons, too, having to make do instead with cocktails in the lounge of my hotel. (The hotel is the most easterly outpost of a chain of boutique hotels, and is blandly luxurious, in the style of such establishments the world over. Its lounge appears to be the destination of choice for the gilded youth of Doha, who smoke and drank heroically -- the drinking and the smoking surprised me -- and danced to a set by an expensively imported French DJ.)

I awoke this morning to discover that I'm staying in the middle of a vast building site. Towers of varying heights, some of them vertiginously tall, are sprouting wherever one looks. Doha, it seems, is a kind of dusty tabula rasa on which a 21st-century city is being built in staggeringly short order. Regular visitors tell me the city is unrecognisable from as little as five years ago.

Qatar, and Doha in particular, is currently in a frenzy of self-assertion -- it's the sort of place where strangers tell you, proudly and unbidden, that GDP grew by 11 per cent last year. As well as hosting the film festival, Doha is currently the venue for a high-profile women's tennis event, and in a couple of weeks' time will welcome the national football teams of England and Brazil for a friendly match. Indeed, so confident is this tiny emirate that it's bidding to host the 2022 World Cup -- as giant billboards throughout the city remind you.

And shortly before the festival opened, it was announced that the emir's daughter, who, like many of her counterparts in other Gulf states, is an enthusiastic and generous patron of the arts, was talking to the Palace of Versailles about co-funding an exhibition in Doha of the work of the Japanese artist Takashi Murakami. (The past, meanwhile -- that is, the prehistoric era before the discovery of petroleum in Qatar in 1939 -- exists here only in facsimile. This evening, I was taken to the Souk Waqif, an architecturally faithful reconstruction of the original souk that the government tore down some years ago.)

The highlight of the festival this afternoon was a screening of Michael Moore's documentary Capitalism: a Love Story. I've often thought that Moore's work combines demagoguery and sentimentalism in a distinctively indigestible way, but this film is different. Sure, he does his ordinary-schlub-speaking-truth-to-power schtick, but his evisceration of the behaviour of the custodians of US capitalism, on Wall Street and on Capitol Hill, is extraordinarily powerful -- on account of its almost guileless quality of moral censure and disapproval. Think of it as an extended howl of what the American philosopher Michael Sandel calls "bailout outrage".

That's it for now. I'm off in a moment to an outdoor, midnight screening at the Museum of Islamic Art of Steven Soderbergh's new film The Informant. More on that tomorrow.

UPDATE: Frustratingly, I got to the museum just now, only to be told that the Soderbergh screening had been cancelled "on the order of the authorities". Mysterious. I'll try to find out why.

Jonathan Derbyshire is Managing Editor of Prospect. He was formerly Culture Editor of the New Statesman.

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Why a Keeping Up with the Kardashians cartoon would make genuinely brilliant TV

The Kardashians are their own greatest satirists.

You’ve seen Keeping Up with the Kardashians, Kourtney and Kim Take Kyoto, and Kylie and Kendall Klarify Kommunications Kontracts, but the latest Kardashian show might take a step away from reality. Yes, Kartoon Kardashians could be on the way. According to TMZ, an animated cartoon is the next Kardashian television property we can expect: the gossip website reports that Kris Jenner saw Harvey Weinstein’s L.A. production company earlier this month for a pitch meeting.

It’s easy to imagine the dramas the animated counterparts of the Kardashians might have: arguments over who gets the last clear plastic salad bowl? Moral dilemmas over whether or not to wear something other than Balenciaga to a high profile fashion event? Outrage over the perceived betrayals committed by their artisanal baker?

If this gives you déjà vu, it might be because of a video that went viral over a year ago made using The Sims: a blisteringly accurate parody of Keeping Up with the Kardashians that sees the three sisters have a melodramatic argument about soda.

It’s hysterical because it clings onto the characteristics of the show: scenes opening with utter banalities, sudden dramatic music coinciding with close-ups of each family member’s expressions, a bizarre number of shots of people who aren’t speaking, present tense confessionals, Kim’s ability to do an emotional 0-60, and Kourtney’s monotonous delivery.

But if the Kardashians, both as a reality TV show and celebrity figures, are ripe for ridicule, no one is more aware of it than the family themselves. They’ve shared teasing memes and posted their own self-referential jokes on their social channels, while Kim’s Kimoji app turned mocking viral pictures into self-depreciating in-jokes for her fans. And the show itself has a level of self-awareness often misinterpreted as earnestness - how else could this moment of pure cinema have made it to screen?

The Kardashians are their own greatest satirists, and they’ve perfected the art of making fun of themselves before anyone else can. So there’s a good chance that this new cartoon won’t be a million miles away from “Soda Drama”. It might even be brilliant.

Anna Leszkiewicz is a pop culture writer at the New Statesman.