N1HRV — broadcast
20260806 030000 UTC
327 transcript segments
Google Cloud Speech-to-Text API (Chirp) + Gemini 2.5 Flash Non-Thinking
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Machine transcription. Treat it as a searchable index of what was broadcast, not a verbatim quotation record.

[00:00:14] In the Moroccan city of Fnidek,
[00:00:17] experts suggest that outside of a hundreds of people are looking for information about relatives who disappeared during the massive
[00:00:20] crossing of the border with the Spanish enclave of Ceuta. Out of
[00:00:23] 72 people who crossed the border after false news on social
[00:00:27] networks, about 70,000 were returned to... Morocco. About 2,500 migrants remained in Ceuta,
[00:00:31] including more than 800
[00:00:34] unaccompanied children. UNICEF warns that the number
[00:00:38] of unprotected children on the streets could be significantly higher, and
[00:00:41] Brussels announces the strengthening of the external borders of the Union, accelerating
[00:00:44] the return of those who are not entitled to asylum, while the authorities in Madrid claim
[00:00:48] that the situation is under
[00:00:49] control.
[00:00:54] We want to go to mainland Spain to work. It's hard to find
[00:00:57] a job in Morocco, so we hope to find a job in Spain.
[00:01:01] Swimming here was very difficult, at one point I thought I would
[00:01:04] drown, some people disappeared while trying
[00:01:07] to swim.
[00:01:11] When we arrived in Ceuta, there was no one to help us, a bottle of water
[00:01:14] cost 22 dollars, a baguette was 16.5
[00:01:18] dollars. We slept in the mountains. I wanted to see things for myself, but a
[00:01:22] Moroccan from Ceuta attacked
[00:01:24] Players cannot win, and there is a me with a knife. After that attack, I returned.
[00:01:25] se.
[00:01:34] The rapid development of the El Niño weather system could push about
[00:01:37] 50 million people into acute hunger before the end of next year,
[00:01:41] warns the World Food Program. This would increase the number of
[00:01:44] 225 million people
[00:01:47] who are already facing severe food insecurity in
[00:01:50] 45 countries. Experts estimate that this year's
[00:01:54] El Niño could be the strongest in the last 70 years.
[00:01:57] The most severe consequences are expected in Central and South America, in
[00:02:01] the Caribbean and South Africa, while drought in Asian countries
[00:02:04] could threaten agriculture and cause a
[00:02:07] global surge in food prices. Although the UN has secured 80
[00:02:11] million dollars for early action measures, the lack of
[00:02:14] funding and data from the field make prevention
[00:02:18] a way to engage with the horrors of difficult, and experts appeal to exporting countries not to suspend
[00:02:21] food placement on
[00:02:22] markets.
[00:02:30] US Secretary of Health Robert Kennedy Junior called for new
[00:02:34] research into vaccine safety and a review of previous
[00:02:37] health messages.
[00:02:40] You have been placing nearly all the blame on the
[00:02:44] COVID pandemic and the way that the US responded
[00:02:48] exaggerating one in to it squarely with Dr. Fauci, but of course,
[00:02:51] he worked for President Trump. Does President Trump also deserve some of the
[00:02:55] blame? Well, President Trump, as you
[00:02:59] recall, to and the
[00:03:01] lockdowns, I think
[00:03:03] belts, which were not part of the the thing that did the most damage to our country was the
[00:03:07] lockdowns. Lockdowns that shut down
[00:03:10] 3.5 million businesses in our country with no due
[00:03:14] process, no just compensation, all of our churches closed
[00:03:18] our schools, and our children are still paying the price for
[00:03:21] that, and yet we had the
[00:03:24] worst outcome of any country in the world, how
[00:03:27] so we have the highest death rate from COVID of any nation on earth.
[00:03:31] Well, let me just, let me just say because I've heard you say that before on the death
[00:03:35] rate from COVID, um, it's not accurate
[00:03:38] because
[00:03:41] public health experts say that there is a combination of
[00:03:44] factors that went into that, higher rates of chronic illnesses, which I know you
[00:03:48] would agree with, gaps to our healthcare system, and misinformation
[00:03:51] about vaccines, you just said what I said was inaccurate. What I said
[00:03:55] was accurate. We have the highest death rate from
[00:03:58] COVID. Why
[00:04:04] we had that,
[00:04:08] but um, you nobody can tell you, I mean, we
[00:04:12] become trendy because of have, as you say, we have the highest chronic disease burden in the world, but Anthony
[00:04:16] Fauci was mismanaging the COVID pandemic and was doing it
[00:04:20] under the Biden administration. President Trump
[00:04:23] wanted to end the lockdowns and in fact, in
[00:04:26] Anthony Fauci's diaries, he talks
[00:04:29] about how President Trump is calling him every day trying to get him to
[00:04:33] reopen the country. Yeah, well, the lockdowns were
[00:04:37] done by governors. I mean, certainly Anthony Fauci and the president
[00:04:41] had opinions, but the lockdowns were done by governors and largely
[00:04:44] because, and largely because, largely
[00:04:47] because they were hearing, they were hearing from
[00:04:50] hospitals saying that their ICUs were overrun and they needed some help while that
[00:04:54] was happening. But that's just not true. You're saying
[00:04:58] it's not true? No, they were doing it.
[00:05:02] was telling them from the top, you need to lock down.
[00:05:05] There were ICUs that were empty all over the country, including in New York
[00:05:09] at the height. I'm asking you, I'm going to go
[00:05:13] back to what I asked you at the beginning, which is President
[00:05:16] Trump, and he was the guy in charge. And
[00:05:20] he, you tweeted back in 2024
[00:05:23] that he let bureaucrats like Anthony Fauci
[00:05:27] shut down the entire country.
[00:05:29] Um, again, he, the president was in charge, the president
[00:05:33] was trying to reopen the country when he left,
[00:05:37] the country was kept closed for another year, almost a year and a
[00:05:40] half after that. Let's talk about how to
[00:05:44] prevent the next pandemic, um, because there's a lot of litigating and
[00:05:48] relitigating that I don't think uh is really helpful to do with regard to
[00:05:52] COVID. And the question is about uh so-called
[00:05:56] gain of function, which uh for people who
[00:05:59] aren't entirely clear about it, it is, it is a
[00:06:02] highly risky research process that includes
[00:06:06] manipulating viruses to study how it behaves as it
[00:06:09] evolves. Now, what scientists say is that
[00:06:12] although it's controversial, it's necessary to prepare
[00:06:16] for the next pandemic, to get ahead of it, to figure out what these
[00:06:20] viruses can do. Um, what you want to
[00:06:24] end this gain of function research? Some scientists
[00:06:27] say, isn't it better just to put better guardrails around
[00:06:30] it? People have been trying to put guard
[00:06:34] rails around it for generations and it hasn't worked, and
[00:06:38] clearly COVID-19 pandemic and many other
[00:06:41] global... pandemics that we have have come from gain of
[00:06:45] function research. The RSV
[00:06:48] epidemic that we have that is the biggest killer of kids in this country
[00:06:51] today came from these kind of experiments. The
[00:06:55] Lyme disease almost certainly came from this kind of
[00:06:58] research. So um,
[00:07:01] and the scientists who you say are
[00:07:04] experts are making the argument that this is necessary for
[00:07:08] pandemic response, cannot point to one instance
[00:07:12] in history where research that came out of this kind of
[00:07:16] experimentation has actually provided
[00:07:20] us something
[00:07:21] beneficial.
[00:07:31] And with this, we conclude today's edition of Global. In the meantime, find the latest
[00:07:34] news from around the world on our web portals and social networks.
[00:07:38] And we'll see you again tomorrow.
[00:08:03] The climate is changing, and so is my role. The weather I have been tracking for
[00:08:07] many years is becoming more extreme. Education is now
[00:08:10] more important than ever. The information must be verified,
[00:08:14] accurate, and the approach close to you, healthy and
[00:08:17] modern. It is important that you, dear viewers, get the best
[00:08:20] possible picture of the weather, stay up to date. I am Tea Blažević,
[00:08:24] watch N1.
[00:17:17] This is not a historical photo from a Nazi concentration and
[00:17:21] extermination camp. It's AI generated. These kinds
[00:17:25] of fakes are a huge problem. Today we'll explain
[00:17:28] why and point you to other better digital ways to understand
[00:17:31] history, for example, interacting with a Holocaust survivor's
[00:17:35] hologram.
[00:17:39] These types of AI generated images are a worrying social
[00:17:43] media trend. They claim to show camps used by the Nazis to
[00:17:46] imprison and murder millions of people, mostly Jews.
[00:17:50] Many posting these images seek attention and clicks, but they distort
[00:17:54] historical facts and trivialize victim suffering.
[00:17:57] Sharing them contributes to the problem, but what are the
[00:18:01] consequences of AI being used to fake
[00:18:03] history? This AI generated photo
[00:18:07] allegedly shows a prisoner in the Auschwitz extermination
[00:18:10] camp. And these AI videos are
[00:18:14] supposed to show the liberation of prisoners from concentration camps by
[00:18:17] the Allied forces. While this AI content is circulating on social
[00:18:21] media, it's not actually original footage. Take a closer
[00:18:25] look.
[00:18:28] The violin only has three
[00:18:30] strings.
[00:18:33] The prisoner uniform does not resemble the striped
[00:18:35] original, and some of the men are wearing
[00:18:41] the prison uniform.
[00:18:44] Spotting these details requires time and background
[00:18:48] knowledge.
[00:18:52] As AI generated images and videos are improving,
[00:18:55] it's becoming a lot harder to tell fakes apart from
[00:18:58] historical footage. AI fakes are creating a misleading
[00:19:02] picture of the Holocaust.
[00:19:05] I suspect that these images change what we're used to
[00:19:08] seeing. The images seem polished. What they
[00:19:12] depict is not realistic at all. Fragments of the
[00:19:16] camps such as fences or watchtowers are
[00:19:19] used, but they don't correspond to historical
[00:19:22] reality. But not only the images are
[00:19:26] changing, AI fakes also override and devalue the
[00:19:29] stories of the victims.
[00:19:33] The images of the real people who are emerged in Auschwitz is part of
[00:19:37] story and here is something that is
[00:19:40] distorting the the historical
[00:19:43] authenticity. But then on another level, you can find posts that
[00:19:47] not only generate an image, but the image isn't
[00:19:50] based any real person. The whole story is AI generated, the
[00:19:54] name, the biography, very personal details
[00:19:57] that this post right, and everything is
[00:20:00] fake. AI generated content presents
[00:20:04] fictional stories as seemingly authentic. This makes it
[00:20:50] system. By making up these fake
[00:20:54] videos, they are continuing the
[00:20:58] job of of of the Nazis. Tova
[00:21:01] Friedman fights antisemitism and misinformation where it's
[00:21:05] often hardest and matters most. I
[00:21:09] had no name. My name was
[00:21:11] 27,63.
[00:21:17] I was... 8 million views on
[00:21:21] TikTok. As a toddler, she survived the
[00:21:24] Auschwitz extermination camp, the place where the Nazis murdered
[00:21:27] around one million people, mostly Jews in the
[00:21:30] 1940s.
[00:21:35] We stood there naked for a number of hours,
[00:21:38] freezing, absolutely freezing. Tova's nephew
[00:21:41] Aaron came up with the idea of telling his grandmother's story on
[00:21:44] TikTok. I saw so much anti-Semitism and Holocaust
[00:21:48] denial and misinformation about the Holocaust on TikTok
[00:21:51] specifically. Um, and because I was familiar with the
[00:21:54] algorithm, I thought it'd be the best place to start talking about the
[00:21:58] Holocaust and sharing the truth, the reality of what the Holocaust
[00:22:02] was. Here on the left, everything started with an open call for TikTok
[00:22:06] users to ask Tova Friedman questions in
[00:22:08] 2021. Comment any questions you would like her to answer.
[00:22:12] Over the next couple days, um, we started getting thousands and
[00:22:16] thousands of questions, so from then on, we just started trying
[00:22:20] to answer as many as possible. Today the
[00:22:23] account has more than 500 thousand followers. The videos have
[00:22:26] received over 10 million likes from all over the world.
[00:22:30] Well, for me, it was the reaching of
[00:22:33] teenagers that I couldn't reach any other way. Tick Tock is like,
[00:22:37] oh, those kids are out there somewhere, most of them not
[00:22:40] Jewish, and they just scroll, and when they stop
[00:22:44] and they listen, and not only do they listen, but they
[00:22:47] ask questions. To me, it was a very gratifying
[00:22:51] way. In addition to likes, however, the TikTok
[00:22:55] account is also targeted with hate speech. Aaron Goodman will not
[00:22:59] accept that open anti-Semitism is becoming
[00:23:01] normalized. It's the hatred and the misinformation that
[00:23:05] motivates me to keep doing this work, because it's proof that what
[00:23:09] we are doing is important and needs to be done. Tova Friedman not only
[00:23:12] uses TikTok to raise awareness, she also gives talks like here in
[00:23:16] Berlin. But what happens when there are no survivors
[00:23:20] left? Technology helps preserve memories and make
[00:23:23] their stories more tangible. This
[00:23:26] school class is about to meet a digital representation of a
[00:23:30] Holocaust survivor in their VR headsets. They can
[00:23:33] ask the hologram of Manfred Goldberg questions. All
[00:23:38] a million survivors who had both
[00:23:41] parents alive. As a child, Manfred Goldberg was
[00:23:45] imprisoned in a Nazi concentration camp. In virtual
[00:23:49] reality, these students can visit the Stutthof concentration
[00:23:52] camp that Manfred Goldberg speaks about at Explorer Castle
[00:23:56] where he lived. My favorite part was using the VR
[00:24:00] headsets and like how we got to see the spaces because it was really cool and a
[00:24:03] real victim that has gone through the events obviously that
[00:24:06] occurred telling you his real experiences. It's
[00:24:10] amazing. Holograms offer a different access to history
[00:24:13] than films. What the holograms do is that
[00:24:17] they um enable audiences to be very active in the
[00:24:21] interaction and so they have to really delve into
[00:24:24] themselves to make sense of this encounter. They have
[00:24:28] to formulate questions
[00:24:31] about the Holocaust that would make sense. They have to show an
[00:24:34] interest in another person's life. Years ago,
[00:24:38] Manfred Goldberg answered 100 questions about his life for the Testimony
[00:24:41] 360 project. When students ask the hologram a question,
[00:24:45] the AI selects the most appropriate answer from his
[00:24:48] interview. Goldberg has since passed away, but his story
[00:24:52] lives on through his hologram, accessible, but never a substitute for
[00:24:55] him. Speaking with holograms of survivors can
[00:24:59] even be done from home. On the Illinois Holocaust Museum
[00:25:03] website, you can either use a chat or voice
[00:25:06] messages.
[00:25:08] Obviously, they knew who we were, it was the death march. They
[00:25:12] saw the rest go by probably. In Germany,
[00:25:15] the equivalent is the Holo Voices project. Here you are seeing
[00:25:50] people ask questions like, "How much did you weigh on liberation?" And
[00:25:54] they probably wouldn't have asked that of a survivor in
[00:25:56] person. However, if you don't have
[00:26:00] enough knowledge about the Holocaust, you might
[00:26:03] not be able to frame questions in such a way that you get meaningful
[00:26:07] responses and that can become really frustrating.
[00:26:11] Selecting the answers does not mean that it is inventing
[00:26:14] anything new.
[00:26:17] All answers are original. There's no generative AI behind it that would
[00:26:21] invent an answer and potentially risk reproducing something that
[00:26:25] isn't actually true. Rather,
[00:26:28] this AI searches for the best possible answer to a question, which
[00:26:31] is then
[00:27:03] some narrative-driven games try to depict the persecution and murder of
[00:27:07] Jews in a historically accurate
[00:27:09] way.
[00:27:11] One example is The Light in the Darkness, which tells the story of a
[00:27:15] Jewish family in Nazi-occupied Paris. The historical
[00:27:19] content is presented primarily through texts and documents rather than game
[00:27:23] mechanics and algorithms.
[00:27:26] reason for that.
[00:27:30] By putting the Holocaust in the game and having even this concept
[00:27:34] of winning or losing, we could say, we could victim-
[00:27:38] blame. We could say why did this person do this and
[00:27:42] not that, and that is why he didn't survive. What
[00:27:45] do you want to know? Some games address this by not putting
[00:27:49] players in the role of victims, but by looking back at past events
[00:27:53] instead. In The Darkest Files,
[00:27:56] players take on the role of a prosecutor during the
[00:27:59] Frankfurt Auschwitz trials in the 1960s, investigating
[00:28:03] crimes committed in the Nazi
[00:28:05] era.
[00:28:10] In The Red Line, a detective pursues war criminals who were
[00:28:13] able to flee after the end of World War II thanks to secret
[00:28:16] networks. Both games find
[00:28:20] the past without forcing players to actually relive
[00:28:23] them.
[00:28:27] There is no way of changing the past, so we're
[00:28:31] gonna put the... the these events already in the past of the
[00:28:35] in-game time and therefore we can't mess with it, we
[00:28:39] can't change it, we can't blame the victims because it already
[00:28:42] happened. as the last living witnesses pass
[00:28:46] away, direct access to their memories will disappear. in
[00:28:49] games, however, the stories can continue to be conveyed in a personal
[00:28:53] and immersive
[00:28:54] way.
[00:28:57] gaming is bigger in terms of profit
[00:29:01] more than movie. and music combined together,
[00:29:05] if our goal is to continue with
[00:29:08] the holocaust memory and with the remembrance for the next
[00:29:11] generations, it's not that we have to use this
[00:29:15] tool, is that if we are not using it, we are overlooking
[00:29:19] something that's that has so much potential, the key
[00:29:22] is that information is reliable and presented
[00:29:26] responsibly, games, tik toks or digital holograms can
[00:29:29] keep the memory of the holocaus alive and
[00:29:48] And I don't think waving flags is my job,
[00:29:51] nor is it to please everyone. My
[00:29:54] job is to convey the facts and tell the truth, however
[00:29:58] uncomfortable it may sometimes be to hear, because journalism is not
[00:30:01] PR. It is not politicking, it is not
[00:30:05] a reality show. Journalism is a public
[00:30:07] service, because to give up asking
[00:30:11] difficult, uncomfortable questions, seeking difficult answers
[00:30:14] means giving up on democracy. In a time
[00:30:17] of shaken trust in institutions and
[00:30:20] fragile credibility, journalism must not
[00:30:24] be silent. I am Hrvoje Krešić and watch me on N1
[00:30:27] Television.