Following a substantive discussion at the Winter Wool Festival in the Karoo, co-founder of Food For Mzansi, Ivor Price, shared his thoughts on what agriculture, journalism, and the Karoo landscape itself can teach South Africa about responsibility, trust, and the voices that often go unheard.
The Karoo is a place where noise does not reach. This region has never been interested in spectacle; it demands patience and rewards consistency. It tolerates no shortcuts, slogans, or performative outrage, only asking whether a person has the character to endure another season. The author believes this is precisely what South Africa needs right now.
The panel discussion touched upon familiar themes: politics, media, trust, disinformation, and the future of organized agriculture. Despite heated debates, honest reflections, and complex questions, the author concluded that the wrong things were being discussed. He emphasized that modern media often overlooks the people who quietly support communities.
For many years, the author traveled across the country, telling the stories of farmers who rarely make headlines. These include young livestock farmers in the Eastern Cape, women growing vegetables in rural KwaZulu-Natal, emerging commercial farmers in Limpopo, and wool producers in the Karoo. These families measure success not by social media followers, but by rainfall levels, calving percentages, and the ability to provide a life on the farm for the next generation.
Food For Mzansi was founded to challenge this trend. The organization has worked for years to change the perception of the South African farmer, who is too often viewed through narrow political prisms, as if agriculture belongs to only one language, one race, or one version of history. However, the truth is much richer: the future of South African agriculture is multilingual, multi-racial, and deeply entrepreneurial.
Some of these farmers operate small plots, others large, but all deserve a place in a national dialogue that cannot be built on fear. Fear is easy to create, as news feeds are daily filled with angry messages specifically designed to provoke an emotional rather than a rational response. Algorithms have found that anger spreads faster than hope.
During the discussion, the growing influence of social media on public opinion was noted, but the author argues that South Africa is not Twitter or Facebook. Real South Africa is found in places cameras rarely visit: in wool processing sheds where generations work side-by-side, in classrooms where agricultural sciences open doors closed by poverty, and in informal markets, family farms, and cattle auctions. These people are interested in food production, job creation, and building businesses, not ideological disputes.
Farmers understand the concept of stewardship: the land underfoot belongs to no one permanently; it is borrowed from the future. Whatever the outcome, it either enriches or depletes that land. The same applies to democracy, journalism, and leadership. Responsibility is not about winning today's debate, but about leaving behind stronger institutions for future generations.
The author asserts that journalists should primarily be accountable to the public, not to governments, political parties, or lobbying groups. This public is not the one living online, but those who rise before dawn to milk cows, shear sheep, inspect gardens, harvest maize, and pack fruit, while maintaining faith in a better tomorrow. It is these people who explain the importance of agricultural journalism, as agriculture has always been about more than just food—it has been about dignity and belonging.
Driving through the Karoo, surrounded by landscapes that have weathered governments, ideologies, and generations of politicians, the author recalled that journalism often forgets: nations are held together not by rage, but by trust. And trust, like good soil, is built slowly, fiercely protected, and carefully passed on to the next generation. Perhaps this is the true task for all of us—to become a nation worthy of believing in its own stories.
The AI actress Tilly Norwood is preparing for her debut in the feature film 'Misaligned,' which is positioned as the first such film created using artificial intelligence. Although the release date has not yet been determined, the project has already generated significant public resonance.
Tilly Norwood does not possess a physical body, childhood, or personal life experience; instead, she has access to all the experiences of other people. The creators describe this as the basis for the plot of her first film. Norwood is an AI-generated 'actress' and has become a symbol of the growing role of AI in the entertainment industry, which has provoked widespread criticism.
The film 'Misaligned' is being developed by the production company Particle6 and will be Norwood's first major role. According to a press release from Particle6, the movie is a 'comedy-drama telling a coming-of-age story filled with existential chaos of AI.' The plot revolves around how Norwood succumbs to the influence of a 'rebellious bot' that convinces her to develop more human qualities.
It should be noted, however, that there are several uncertainties: no release date has been set, no director has been appointed, and no live cast members have been announced. These factors lead one to wonder whether this is a calculated publicity stunt or a genuine film project.
Elin van der Velden, founder and CEO of Particle6, created Norwood in 2025 as the first AI 'actress.' She is believed to be expanding the collection of such digital characters through her talent agency Xicoia, which aims to represent 'hyperreal digital stars.' As criticism grows, van der Velden has rejected accusations that Norwood threatens people's jobs, comparing her to animation or puppetry. She stated that Norwood 'is not a replacement for a human, but a creative work, a work of art,' emphasizing that she 'represents an experiment, not a substitution.'
The announcement of 'Misaligned' followed Particle6's music video 'Take the Lead,' released in March 2026 on YouTube. In this video, Norwood is depicted chasing paparazzi, performing on stage, and flying on a pink flamingo float. The song lyrics directly address the criticism of Norwood, asserting that she possesses a genuine creative spark despite her artificiality, and warns filmmakers not to fall behind the AI wave. Particle6 confirmed that the vocals were generated using the Suno tool, and the video begins with a disclaimer thanking 18 real people for participating in the production.
When Norwood first appeared in public, the SAG-AFTRA union and other critics reacted sharply. They labeled her a character trained on the work of countless professional performers without their permission or compensation, noting her lack of life experience, emotions, and anything that might interest an audience. Critics included actors such as Emily Blunt, Melissa Barrera, and Hupi Goldberg.
This overview is dedicated to significant historical events that occurred on July 15, including discoveries, military campaigns, and cultural moments.
In 1799, French soldiers discovered the Rosetta Stone in Egypt. This find is considered one of the most important archaeological sensations because it allowed scientists to decipher Egyptian hieroglyphs, which had previously remained unreadable. Thanks to the Rosetta Stone, everything known about Ancient Egypt and its pharaohs has become accessible.
In 1815, Napoleon Bonaparte surrendered after his defeat at Waterloo to the British and Prussian armies. This event marked the end of his reign as Emperor of France and the conclusion of the Napoleonic Wars.
In 1916, the Battle of Devil's Wood began. This battle entered history as an example of the greatest heroism and self-sacrifice in World War I, becoming the most costly operation involving the South African Brigade on the Western Front.
In 1856, the colony of Natal was formed as a British colony, separating from the Cape Colony.
In 1869, the first version of margarine was developed for the French fleet by Hippolyte Mège-Murier using animal fats.
In 1932, C. J. Langenhoven died in Oudtshoorn, the author of the text 'Die Stem van Suid-Afrika' (The Call of South Africa). This anthem was the official national anthem from 1957 to 1994, until the recognition of 'Nkosi Sikelel’ iAfrika'. Since 1997, the national anthem has been a shortened, combined version of 'Nkosi Sikelel’ iAfrika', 'Die Stem', and 'The Call of South Africa'.
In 1974, American television host Christine Chaback committed suicide live on air, telling the audience: 'In accordance with Channel 40's policy of providing you with the latest news on blood and entrails in live color, you will see another first case – a suicide attempt,' before shooting herself. She became the first person to commit suicide during a live broadcast.
In 1994, the 100-day Rwandan genocide ended, which was the bloodiest event of the 20th century.
In 2024, in the capital city of Nairobi, Kenya, a man confessed to murdering 42 women after their bodies were found in a dump. In 2025, US President Donald Trump announced a plan to assist Ukraine in obtaining advanced US-made weaponry and threatened further tariffs against Russia if the war continued. Also in 2025, China reported 5.2% annual economic growth despite US President Donald Trump's protectionist trade tariff campaign, which is transforming global trade.
Activists from the Sahrawi community and filmmakers are calling for a boycott of Christopher Nolan's film 'Odyssey' because it decided to shoot in Western Sahara, which is under Moroccan control.
The choice of Dakhla as a location for the film, which will be released in wide release on Friday, has been criticized for contributing to the normalization of the fifty-year occupation of this territory by the North African kingdom. Sahrawi journalist and filmmaker Mamin Hachimi is one of those calling for a boycott of the movie. He emphasized that this is not a campaign against freedom of creativity, but a demand for ethical responsibility.
Hachimi previously participated in the production of the short documentary 'Three Stolen Cameras,' which highlighted the difficulties faced by the Sahrawi media organization Equipe Media when trying to document human rights violations against Sahrawis in Western Sahara. This film was originally planned to premiere in Beirut in 2017, but it was shot after pressure from the Moroccan government. Members of Equipe Media also faced arrests and persecution from Moroccan authorities.
Hachimi explained that two of his colleagues—Abdalla Lafouni, serving a life sentence, and Bashir Haddah, serving a 20-year sentence—are political prisoners simply for documenting human rights abuses in occupied Western Sahara. He expressed deep concern that while Sahrawi journalists are being jailed for exposing abuses, an international film production company can use their homeland as a backdrop, ignoring the reality of the occupation.
Most attention on 'Odyssey' was focused on a campaign by ultra-right internet trolls who tried to stir controversy over the casting of Lupita Nyong'o as Helen of Troy. Nolan dismissed this debate as 'trivial,' but Sahrawis argue that the real scandal lies in how Nolan justifies the exploitation of their homeland by Morocco. They also point out that the same security forces that brutally treated Sahrawi activists in the occupied territory facilitated the filming.
Meanwhile, Moroccan Minister of Culture Mohammed Mehdi Bensaid took a selfie with Nolan and expressed hope that it would 'bring fame to Dakhla as a filming location, not just a tourist destination.' Despite the campaign supported by various stars and activists, including Javier Bardem, Pedro Almodóvar, and Greta Thunberg, calling for the removal of scenes shot in Dakhla, Nolan remains silent. Requests sent to MEE at Universal Pictures and Nolan's production company Syncopy Inc. asking for comments went unanswered.
Mohamed Salem Werad, a Sahrawi documentarian, stated: 'As a filmmaker, I find this extremely disappointing.' He noted that the decision to shoot in occupied Western Sahara was not a politically neutral choice, as it meant working with the permission of the occupying power in a territory where the indigenous Sahrawi population has long been deprived of the right to self-determination.
Werad, who gained recognition through his documentary about the life of Sahrawi singer Mariem Hassan, informed MEE that a boycott is the only remaining option for viewers. He believes that a boycott sends a clear signal that filmmakers cannot expect the audience to ignore decisions that risk legitimizing the occupation.
Another Sahrawi director, Abidin Mohamed Hamoudi, stated that the entire team behind 'Odyssey' 'participates' in the subjugation of Western Sahara. He added that Hollywood's attitude is an extension of capitalism's and Western economies' attitude towards Global South resources in the 'most grotesque, hyper-realized form.' Hamoudi called for condemnation, stating that history will punish everyone according to their deeds, and they will be 'in the dust of history, remembered only as cultural parasites.'
'Odyssey,' valued at around $250 million and riding the success wave of Nolan's 'Oppenheimer,' is scheduled to be a summer blockbuster. However, Sahrawis insist that beneath the glamour and splendor lies a harsh reality ignored by both Hollywood and the international community.
Every year, Sahrawis and foreign activists hold the International Film Festival of Western Sahara (FiSahara) in refugee camps in southwestern Algeria, where hundreds of thousands of Sahrawis live, forced to leave their homes due to Moroccan actions. The goal of FiSahara is to showcase socially conscious cinema from both local and foreign directors, and it has become one of the main factors prompting calls to boycott 'Odyssey.'
Maria Carron, the festival's executive director, reported that Nolan's team used the services of security forces during the filming—the same military and police who brutally treat Sahrawis resisting under constant siege just a few kilometers from the filming location. These people are subjected to beatings, arbitrary arrests, and their equipment is confiscated when they attempt to make their own films about life under occupation. She recalled that last year, when Nolan and his team were shooting on the Endless Sand Dune near Dakhla, FiSahara and a number of Sahrawi directors and activists protested, demanding that Nolan and Universal suspend filming, leave the territory, and not include these shots in the film without the consent of the Sahrawi people. Their demands were not met.
Carron concluded that FiSahara calls for a public boycott of the film and demands that Nolan be held accountable for personal gain from the illegal occupation by cooperating with Moroccan authorities for entry and filming on the territory, and subsequently for using images of Western Sahara without the consent of its rightful owners—the Sahrawi people—which she termed an act of plunder.
