
The Los Angeles Times reports that the real winner of President George W. Bush’s war in Iraq is the Islamic Republic of Iran. “Iraqi officials say Washington’s political influence in Baghdad is now virtually nonexistent. Hussein is dead. But Iran has become an indispensable broker among Baghdad’s new Shiite elite, and its influence continues to grow,” the Times says.
Secretary of State John Kerry travelled to Baghdad last week to ask Iraqi Prime Minister Nouri al-Maliki to stop Iranians from using Iraqi airspace to fly of weapons and supplies to Bashar al-Assad’s forces fighting Syrian rebels but he was rebuffed. Maliki claimed that there is no evidence that the flights contain anything but humanitarian supplies.
“The Americans have no role. Nobody listens to them. They lost their power in this country,” said Deputy Prime Minister Saleh Mutlaq, a Sunni, commenting on the disappearance of the Americans as a broker for most of Iraq’s disputes.
And the Iranians have filled the vacuum. “At the moment, Iran has something akin to veto power in Iraq, in that Maliki is careful not to take decisions that might alienate Iran,” said Karim Sadjadpour, an Iran expert at the Carnegie Endowment for International Peace.
Read more here.
In other news:
The Washington Post reports: A U.S. Army veteran was charged with conspiracy Thursday for fighting alongside a Syrian rebel group linked to al-Qaeda. Eric Harroun, 30, known to Syrians as “the American,” crossed into northern Syria in January and joined members of Jabhat al-Nusra to fight against the Syrian military, according to an FBI agent’s affidavit in support of a criminal complaint filed by prosecutors in federal court in Alexandria.
The New York Times reports: North Korean state media said on Friday that the country’s leader, Kim Jong-un, ordered his missile units to be ready to strike the United States and South Korea, which South Korean officials said could signal either preparations for missile tests or just more blustering.
The Post adds: U.S. officials are taking seriously a string of provocative threats from the North Korean government, Defense Secretary Chuck Hagel said Thursday, hours after the U.S. military dispatched stealth planes capable of dropping nuclear-armed missiles for a training exercise in South Korea.



As the tenth anniversary of the war in Iraq approaches, many of my colleagues who write about policy have been looking back on their past prognostications to see who was right, who was wrong, and who believed what information on what basis. It’s an interesting exercise, considering how many reputations were made and broken on those assessments, but I’m interested in looking backwards for something different. During the decade of America’s involvement in Iraq, Hollywood’s responded with a huge array of movies, television shows, and miniseries that offer a fascinating, and in many ways disturbing window into our desire to support and honor the people who have served in the U.S. military in Iraq and Afghanistan. But despite the profusion of these movies, and of soldiers as heroes even in movies that aren’t specifically about these wars, pop culture tells us as much about our attitudes to Iraq in what movies and television largely leave out: the reasons we sent soldiers to Iraq in the first place and kept them there for so long; the rising number of female veterans who are homeless, even as the Obama administration welcomed servicewomen officially into combat; and what medical recovery from combat injury really looks like. Too often, Hollywood products reflect a public desire to support the troops without recognizing what kind of support would actually be useful. And too often, sympathy for veterans substitutes for grappling with the reasons that we asked them to do things that have left them physically or psychologically injured.
And soldiers have become stock figures in all sorts of genre movies, even those that don’t purport to deal directly with war or the soldiering experience as their primary subject—and soldiering roles have become a key way for actors to attempt to rebrand themselves as serious mainstream players. Zac Efron, as part of his attempts to present himself as something other than a teen idol, played a Marine who served three tours of duty in Iraq in an adaptation of a Nicholas Sparks weepie The Lucky One. Professional wrestler John Cena played a Marine who was discharged for overzealousness in the fight against terrorism in Iraq, and who has trouble adapting to civilian life until his skills become necessary in tracking down a violent band of criminals who have kidnapped his girlfriend in The Marine. The remake of The A-Team, which put a jokey spin on the Iraqi insurgency, was part of Bradley Cooper’s move up from goofy supporting player to star, and an attempt to make South African actor Sharlto Copley a mainstream American movie actor after the success of District 9. G.I. Joe: The Rise of Cobra was a silly stop for both Channing Tatum, who between this and Stop-Loss has benefitted perhaps more than any other single actor from the fad for soldier characters, and Joseph Gordon-Levitt, but it did demonstrate that they were both credible participants in action franchises.







