I'm following the New York Times' liveblog and list of winners; I'll try to update this post.

• Best Play: “Leopoldstadt”

“Leopoldstadt,” a wrenching drama that explores the destructive toll of antisemitism by following a family of Viennese Jews through the first half of the 20th century, won the Tony Award for best play on Sunday night.

The play is by Tom Stoppard, an 85-year-old British playwright who is widely regarded as among the greatest living dramatists, and who had already won the best play Tony Award more times than any other writer. This is his 19th production on Broadway since his debut in 1967, and his fifth Tony for best play, following “Rosencrantz and Guildenstern Are Dead,” “Travesties,” “The Real Thing” and “The Coast of Utopia.”

“Leopoldstadt” is an unusually personal work for Stoppard, prompted by his late-in-life reckoning with his Jewish roots, and the realization that many of his relatives were killed in the Holocaust. Stoppard was not yet 2 years old when his own family fled what was then Czechoslovakia, where he was born, to escape the Nazi invasion; he was raised in Britain and has said he only fully came to understand his family’s Jewish heritage when he was much older.

“Leopoldstadt,” directed by Patrick Marber, was first staged in London, where it opened in 2020, shortly before the coronavirus pandemic forced the shutdown of theaters, and then resumed performances in the West End after theaters reopened in 2021. That production won the Olivier Award for best new play in 2020.

The Broadway production began previews Sept. 14 and opened Oct. 2 at the Longacre Theater. The run is scheduled to end on July 2.

The play, named for a historically Jewish section of Vienna, begins in 1899 in the living room of an affluent and assimilated Austrian Jewish family and continues until 1955, after much of the family has perished; some members of the family had mistakenly thought that their integration into Viennese society would somehow protect them.

The show is quite large for a Broadway play, with a cast of 38, including several children. It was capitalized for up to $8.75 million, according to a filing with the Securities and Exchange Commission.

The lead producer is Sonia Friedman, a prolific British producer who has notched an impressive set of wins on Broadway: She was also a lead producer of the best play Tony winners in 2020 (“The Inheritance,” which was granted the award at a pandemic-delayed ceremony in 2021), 2019 (“The Ferryman”) and 2018 (“Harry Potter and the Cursed Child”).

• Best Musical: “Kimberly Akimbo”

“Kimberly Akimbo,” a small-scale, big-hearted show about a teenage girl coping with a life-shortening genetic condition and a comically dysfunctional family, won the coveted Tony Award for best musical Sunday night.

The musical is the smallest, and lowest-grossing, of the five nominees in the category, but it was also by far the best reviewed, with virtually unanimous acclaim from critics. (Nodding to the show’s anagram-loving subplot, New York Times critic Jesse Green presciently suggested one of his own last fall: “sublime cast = best musical.”)

The show, set in 1999 in Bergen County, N.J., stars the 63-year-old Victoria Clark as Kimberly, a 15-going-on-16-year-old girl who has a rare condition that makes her age prematurely. Kimberly’s home life is a mess — dad’s a drunk, mom’s a hypochondriac, and aunt is a gleeful grifter — and her school life is complicated by her medical condition. But she befriends an anagram-obsessed classmate and learns to find joy where she can.

“Kimberly Akimbo,” which opened at the Booth Theater in November, was written by the playwright David Lindsay-Abaire and the composer Jeanine Tesori, based on a play Lindsay-Abaire had written in 2003. The musical, directed by Jessica Stone, began its life with an Off Broadway production at the nonprofit Atlantic Theater Company in the fall of 2021.

The musical, with just nine characters, was capitalized for up to $7 million, according to a filing with the Securities and Exchange Commission; that’s a low budget for a musical on Broadway these days, when a growing number of shows are costing more than $20 million to stage. The lead producer is David Stone, who, as a lead producer of “Wicked,” is one of Broadway’s most successful figures; this is the first time he has won a Tony Award for best musical.

• Best Revival of a Play: "Topdog/Underdog"

A new production of “Topdog/Underdog,” Suzan-Lori Parks’s tour de force about two Black brothers weighted down by history and circumstance, won the Tony Award for best play revival Sunday night.

The play, first staged at the Public Theater in 2001, was already a widely hailed masterpiece: In 2002 it won the Pulitzer Prize for Drama, making Parks the first African American woman awarded that prize, and in 2018 a panel of New York Times critics declared it the best American play of the previous quarter century.

The new production, which ran from September 2022 through January 2023 at the John Golden Theater, was directed by Kenny Leon. It starred Corey Hawkins and Yahya Abdul-Mateen II as the two brothers, ominously named Lincoln and Booth.

In the play, Lincoln works in whiteface as a Lincoln impersonator at an arcade, while Booth makes ends meet by shoplifting. They share a one-room apartment, a fondness for three-card monte, and a set of familial and societal burdens from which they cannot escape. “‘Topdog/Underdog’ is both a vivid, present-tense family portrait and an endlessly reverberating allegory,” the New York Times critic Ben Brantley wrote in 2018.

• Best Revival of a Musical: "Parade"

“Parade,” a musical based on the early 20th century lynching of a Jewish businessman in Georgia, won the Tony Award for best musical revival Sunday night.

The prize cements a remarkable rebirth for the show, which was not successful when it first opened on Broadway in 1998, but which is shaping up to be a hit this time, thanks to strong word-of-mouth and the popularity of its leading man, Ben Platt. It was one of several shows this season about antisemitism, as the number of reported incidents has been rising.

The success of “Parade” is also a significant milestone for the musical’s composer, Jason Robert Brown, who is widely admired within the theater community but whose Broadway productions have struggled commercially. Brown wrote the music and lyrics for “Parade,” and the book is by Alfred Uhry; both men won Tony Awards for their work on the show in 1999.

... Audible groans here as Jason Robert Brown, the composer behind “Parade,” gets cut off at the microphone. He started to say something about Mary Phagan, the girl whose murder in Georgia set the Leo Frank trial in motion.

• Best Leading Actor in a Play: Sean Hayes, “Good Night, Oscar”, as Oscar Levant

Sean Hayes, who portrays the witty but troubled pianist Oscar Levant in “Good Night, Oscar,” won the Tony for best lead actor in play.

Best known for his long-running role as Jack McFarland in the television series “Will & Grace,” Hayes received critical praise for his drastic transformation in this stage production, adopting the hunched posture, irritable scowl and anxious twitching of Levant, who channeled his neuroticism into crowd-pleasing radio and television banter.

Hayes, 52, has also brought one of his lesser known talents to the stage for this performance: classical piano, which he started studying at age 5.

Telling the story of one night in 1958 when Levant finagled his way out of psychiatric hospital to be interviewed on Jack Paar’s “Tonight Show,” the play focuses on the pianist’s idiosyncrasies, compulsions and struggles with opioid addiction as surrounding characters try desperately to manage him.

This is Hayes’s first Tony Award. He was previously nominated for his Broadway debut in the 2010 revival of “Promises, Promises,” a musical adaptation of the Billy Wilder film “The Apartment.”

• Best Leading Actress in a Play: Jodie Comer, "Prima Facie", as Tessa Ensler

The leading actress in a play category this year was a face-off of extremes: Jodie Comer, who delivers a physically and emotionally exhausting performance in Suzie Miller’s one-woman legal thriller “Prima Facie,” versus Jessica Chastain, who scarcely stirs from her chair during the entirety of “A Doll’s House.”

In the end, it was Comer who triumphed, for her tour-de-force solo turn as a lawyer who defends men accused of sexual assault. Jesse Green, the chief theater critic for The New York Times, described it as “a performance of tremendous skill and improbable stamina.”

It was a remarkable win for the 30-year-old English actress, who is best known for playing the assassin Villanelle on the television show “Killing Eve.” She not only took home her first Tony Award on her first try; she won it for her first performance on a professional stage — ever.

“It kind of felt unattainable,” she told The Times in April of the prospect of doing theater.

• Best Leading Actor in a Musical: J. Harrison Ghee, "Some Like It Hot", as Jerry/Daphne

J. Harrison Ghee, whose portrayal of a gender-questioning musician fleeing the mob in “Some Like It Hot” has charmed critics and audiences, won a Tony Award for best leading actor in a musical Sunday night, becoming the first out nonbinary actor to win that award.

Ghee’s victory came shortly after Alex Newell, who is also nonbinary, won a Tony Award for best featured actor in a musical, becoming the first out nonbinary performer to win a Tony.

The Tony Awards, like the Oscars, have only gendered categories for performers, and Ghee and Newell agreed to be considered eligible for awards as actors. (Another nonbinary performer this season, Justin David Sullivan of “& Juliet,” opted not to be considered for awards rather than compete in a gendered category.)

Asked in a recent interview with The New York Times about having been nominated in a gendered category, Ghee said: “Wherever I am, I will show up as who I am. Someone’s compartmentalization of me doesn’t limit me in any way.

“I hope for the industry we can remove the gender of it,” they added, “because we are creators and we should free ourselves beyond so many labels and let the work speak for itself.”

At least two performers who later came out as nonbinary have previously won Tony Awards as best featured actress in a musical: Sara Ramirez, who won in 2005 for “Spamalot,” and Karen Olivo (also known as K O), who won in 2009 for a revival of “West Side Story.” Also: Last year, the Tony Award for best score went to Toby Marlow and Lucy Moss for “Six,” and Marlow is nonbinary.

Ghee’s depiction of a main character in “Some Like It Hot” reflects the way views on gender have evolved since 1959, when the Billy Wilder film it was based on was released. In the movie Jack Lemmon plays a musician named Jerry who dresses as a woman named Daphne to flee the mob; in the musical Ghee plays the same character, but Jerry’s path to becoming Daphne becomes one of self-discovery, not disguise.

The performance earned critical praise. Jesse Green, The Times’s chief theater critic, wrote that Ghee “carefully traces Jerry’s transformation into Daphne, and then the merging of the two identities into a third that takes us into territory that’s far more complex than jokey drag.”

Ghee, 33, worked as a drag performer before finding success in musical theater, with key roles on Broadway in “Kinky Boots” and “Mrs. Doubtfire” before “Some Like It Hot.”

• Best Leading Actress in a Musical: Victoria Clark, “Kimberly Akimbo”, as Kimberly Levaco

Victoria Clark won the Tony for best leading actress in a musical on Sunday night for her role in “Kimberly Akimbo,” in which she plays a teenager with a rare disease that causes her to age rapidly.

As unusual as Clark’s role has been as a sexagenarian playing a gawky teenager with a fatal diagnosis, critics pointed to the pedestrian subtlety with which she imbued her performance.

“So remote is she from the bellowing divadom of those tourist-bait extravaganzas that I’m tempted to call what she does not singing at all, but acting on pitch,” wrote Jesse Green in his review of the musical for The Times.

This is Clark’s second award in the category: In 2005, she won for “The Light in the Piazza,” a musical in which she played an American tourist traveling with her daughter — a performance that Ben Brantley of The Times praised as a rare reflection of a “real human being” in an American mainstream musical.

A veteran stage actress, Clark, 63, has performed on Broadway since the 1980s, earning Tony nominations for featured roles in “Sister Act,” “Rodgers and Hammerstein’s Cinderella” and “Gigi.”

• Best Featured Actor in a Play: Brandon Uranowitz, “Leopoldstadt”, as Ludwig Jakobovicz and Nathan Fischbein

Brandon Uranowitz, a four-time Tony nominee, won his first Tony Award on Sunday for performing a pair of featured roles in the critically acclaimed play “Leopoldstadt.”

The play, by Tom Stoppard, follows an Austrian Jewish family — the Merzes — from 1899 to 1955. In the early days, the bourgeois family is comfortable and complacent, shown enjoying time together at holiday gatherings and family functions. But eventually the Nazis arrive, and their lives are upended and destroyed.

“My impostor syndrome is on fire,” he said in accepting the award.

“Thank you, Tom Stoppard, for writing a play about Jewish identity and antisemitism and the false promise of assimilation with the nuances and the complexities and the contradictions that they deserve,” he added. “My ancestors, many of whom did not make it out of Poland, also thank you.”

• Best Featured Actor in a Musical: Alex Newell, "Shucked", as Lulu

Alex Newell, a “Glee” alumnus who is bringing down the house nightly with a barn-burning number in “Shucked,” won the Tony Award for best featured actor in a musical Sunday night, becoming the first out nonbinary actor to win a Tony for performance.

Newell, who identifies both as nonbinary and gender fluid, plays a fiercely self-reliant whiskey distiller in “Shucked,” which is a country-scored, pun-rich musical comedy about a small farming community whose corn crop begins mysteriously dying.

“The standing ovation isn’t jarring as much as the consistency of it,” Newell told The New York Times last month. “I’m beside myself a lot of the time because I’m like, ‘Y’all are really still standing up.’”

Newell agreed to be considered in the gendered actor category, explaining, “I look at the word ‘actor’ as one, my vocation, and two, genderless. We don’t say plumbess for plumber. We don’t say janitoress for janitor. We say plumber, we say janitor. That’s how I look at the word, and that’s how I chose my category.”

• Best Featured Actress in a Play: Miriam Silverman, “The Sign in Sidney Brustein’s Window”, as Mavis Parodus Bryson

Miriam Silverman, the only acting nominee from “The Sign in Sidney Brustein’s Window,” has been with this production since its Chicago debut. “I’m always more drawn to complicated, tricky, flawed characters,” she told the Times. “And not trying to make them likable, per se, but just trying to be inside of them in all of their humanity.”

Alice Ghostley won a Tony for the same role when the play debuted in 1964.

• Best Featured Actress in a Musical: Bonnie Milligan, “Kimberly Akimbo”, as Aunt Debra

On Sunday night, Milligan, 39, took home her first Tony Award for best featured actress in a musical, for her scene-stealing performance as Debra, Kimberly’s scheming aunt.

It was the first Tony nomination for Milligan, known for her vocal range and vocal belting, who made her Broadway debut in 2018 in “Head Over Heels,” a musical that combined a Renaissance pastoral romance with the music of the Go-Go’s.

• Best Direction of a Play, Patrick Marber, “Leopoldstadt”

Patrick Marber won his first Tony on Sunday for his direction of the harrowing, critically acclaimed Tom Stoppard play, “Leopoldstadt.”

Marber, who was previously nominated for directing a 2018 revival of Stoppard’s “Travesties” has also written plays and worked as a stand-up comedian.

“I’m thrilled to win this,” he said, calling Stoppard one of his heroes.

• Best Direction of a Musical: Michael Arden, “Parade”

“‘Parade’ tells the story of a life that was cut short at the hands of the belief that one group of people is more or less valuable than another and that they might be more deserving of justice,” he said in accepting his award. “This is a belief that is the core of antisemitism, of white supremacy, of homophobia, of transphobia and intolerance of any kind. We must come together. We must battle this. It is so, so important, or else we are doomed to repeat the horrors of our history.”

Arden went on to recall how he had been called a homophobic slur — “the F-word,” he said — many times as a child. And he drew raucous cheers as he reclaimed the slur, making clear that he was now one with a Tony. “Keep raising your voices,” he said.

One of the production’s most talked-about features is Platt’s wordless presence onstage during the entire 15-minute intermission. Arden recently told Michael Paulson that he “wanted to challenge the audience, when they’re getting their cocktail or texting their friends or talking about what they’re having for dinner, to look back and see Ben onstage, and to get a sense that while the world was turning, this man was sitting in a prison cell.”

• Best Book of a Musical: David Lindsay-Abaire, "Kimberly Akimbo"

A tough category this year, with fine work addressing daunting needs. David West Read somehow made a jukebox musical (“& Juliet”) witty. Robert Horn (“Shucked”) came up with more corn puns than anyone thought possible. Matthew López and Amber Ruffin revamped a classic farce (“Some Like It Hot”) as a contemporary exploration of race and gender. But David Lindsay-Abaire may have had the hardest job of all: turning his own play “Kimberly Akimbo” gently, cleverly, ruthlessly into a great musical.

• Best Original Score: Jeanine Tesori (music) and David Lindsay-Abaire (lyrics), “Kimberly Akimbo”
• Best Choreography: Casey Nicholaw, “Some Like It Hot”

Casey Nicholaw won the Tony for best choreography for “Some Like It Hot,” a boisterous Prohibition-era musical with tapping, swing dancing and intricate staging.

Nicholaw, who also directed the production, has been nominated in the category six times before, but this is his first win. In 2011, he shared the Tony for best direction of a musical with Trey Parker for “The Book of Mormon.”

• Best Orchestrations: Charlie Rosen and Bryan Carter, “Some Like It Hot”

Broadway World: In their visit to the press room, recently annointed Tony winners, Some Like It Hot orchestrators, Charlie Rosen and Bryan Carter discussed the timely and important subject of the need for Broadway-sized orchestras for Broadway shows.

Bryan said, "Having an 18-piece orchestra is a luxury. We're hoping that the show inspires new companies to use large orchestras because orchestras really are the heartbeat of musical theatre."

In discussing the challenges of bringing their larger-than-life orchestrations to life, Charlie shared, "The challenge of this show, in particular, was that I hold Marc Shaiman and Scott Wittman in such high regard. They're such legends, I really thought twice, three times, four times, about every single note that I wrote on the page. I really wanted to do their score justice because they're so incredible and so prolific," Charlie added.

• Best Scenic Design of a Play: Tim Hatley and Andrzej Goulding, “Life of Pi”

NYTG: The Broadway transfer gave the cast and creative team the opportunity to make changes. "We were able to make some positive adjustments to the story based on the feedback from the West End," said director Max Webster, noting the first act was tightened.

The move also gave the designers the opportunity to expand the design elements of the show. “It is always good to get the opportunity to work on a show for a second (or third, or fourth...) time,” said scenic and costume designer Tim Hatley. “In my experience designing for theatre and film over the past 30 years, I have never walked away from a production thinking I have managed to get it all right.”

Most importantly, the design teams needed to adjust the scope and scale of the scenic design to fit the Gerald Schoenfeld Theatre in New York, which is wider and shallower than Wyndham’s. “This has, of course, had a knock-on effect, and video and lighting have had to adapt their designs to work with the new dimensions,” Hatley said.

For his part, video designer Andrzej Goulding (co-nominated with Hatley in the scenic design category) upgraded the show’s simulations. He also worked with lighting designer Tim Lutkin to recolor some scenes for the Broadway run and blend his projections, which naturally light the set, with Lutkin's lighting of the actors. The designers also had to adjust certain visual elements to accommodate different sight lines.

“The heart of the design is the ability to transition seamlessly from the hospital into Pi’s story, which is, for the most part, at sea,” said Hatley. The split-second transitions, which happen in full view of the audience, are integral to the narrative. “This was my challenge as the designer of the show, and I am pleased to have pulled it off.”

• Best Scenic Design of a Musical: Beowulf Boritt, “New York, New York”
• Best Costume Design of a Play: Brigitte Reiffenstuel, “Leopoldstadt”
• Best Costume Design of a Musical: Gregg Barnes, “Some Like It Hot”
• Best Sound Design of a Play: Carolyn Downing, “Life of Pi”
• Best Sound Design of a Musical: Nevin Steinberg, “Sweeney Todd: The Demon Barber of Fleet Street”
• Best Lighting Design of a Play: Tim Lutkin, “Life of Pi”
• Best Lighting Design of a Musical: Natasha Katz, “Sweeney Todd: The Demon Barber of Fleet Street”
• Special Tony Award for Lifetime Achievement: Joel Grey and John Kander

The actor and director Joel Grey, 91, will be honored for Lifetime Achievement at the Tony Awards this evening for his “everlasting impact” to the theater, said Heather Hitchens, president and chief executive of the American Theater Wing.

• Isabelle Stevenson Award: Jerry Mitchell

Parade: When Jerry Mitchell moved to New York City in 1980 to dance in his first Broadway show, Brigadoon, he'd inadvertently walked into one of the worst tragedies of American history. By 1985, he'd lost his first friend to AIDS. By 1990, he'd lost four more. As a gay dancer and choreographer performing in New York, he lived in the epicenter of the AIDS epidemic and felt helpless as his friends and colleagues died.

That helplessness turned into action in the early '90s, after Mitchell was cast in The Will Rogers Follies, in which he was "dancing every night...practically naked" in a tribute to the Ziegfeld Follies. "I was really in great shape," he told me over coffee on a warm May afternoon in a park only a few blocks from Broadway. "I looked hot, and people were noticing...and so a friend of mine said, you should go dance at the Splash Bar on 17th St., which was this famous gay bar, and raise money for our fundraiser." The fundraiser in question was for Broadway Cares/Equity Fights AIDS, an organization founded in the theater community to fight back against the disease that ravaged their friends and loved ones.

"A light bulb went off over my head. I called seven friends who were in Broadway shows who also, I knew, had great bodies, and I put together a strip show, a burlesque show on the bar. We made $8,000." And that was the birth of Broadway Bares.

While Broadway Bares my have started as an eight-man strip show in a gay bar, its Chelsea nightclub days are long behind it. In total, the dancing/body-celebrating fundraiser has earned more than $22.5 million for Broadway Cares/Equity Fights AIDS, with the burlesque dancers raking in nearly $1.9 million last year alone. The charity provides lifesaving medications, health care, nutritious meals, counseling and emergency financial assistance to those in need due to HIV/AIDS and other illnesses.

• Regional Theater Tony Award: Pasadena Playhouse

LA Times: Pasadena Playhouse will receive the 2023 Regional Theatre Tony Award, becoming only the second Los Angeles institution to earn the honor and continuing its triumphant streak after years of turbulence.

The prize, which includes a $25,000 grant sponsored by City National Bank, will be presented at the 76th Tony Awards on June 11 in New York.

The Mark Taper Forum, in 1977, was the first L.A. theater to receive the Regional Theatre Tony. Other Southern California recipients include the Old Globe in 1984, South Coast Repertory in 1988 and La Jolla Playhouse in 1993.

The award marks an astonishing turnaround for Pasadena Playhouse, which was on the verge of shutting down in 2010, when it laid off most of its staff, canceled the remainder of its season and filed for Chapter 11 bankruptcy protection. Rescued by the generosity of donors, the theater was back on shaky ground when producing artistic director Danny Feldman was appointed to succeed long-term artistic director Sheldon Epps in 2016.

• Tony Award for Excellence in Theater Education: Jason Zembuch Young

Jason Zembuch Young is the artistic director of the public South Plantation High School in Plantation, Fla. He stages full-length musicals and a full-length plays in both voice and American Sign Language.

Now, his efforts are being rewarded with a special Tony Award, granted each year in partnership with Carnegie Mellon University to a U.S. educator who has “demonstrated monumental impact on the lives of students and who embodies the highest standards of the profession.”

• Tony Honors for Excellence in the Theater: Lisa Dawn Cave, Victoria Bailey and Robert Fried

Broadway will have an unusually busy summer

There usually tends to be a lull in new Broadway shows between the Tony Awards eligibility deadline in late April and the start of the school year. But this season is shaping up to be different, with seven openings between Memorial Day and Labor Day.

The first, a horror play called “Grey House” starring Laurie Metcalf, has already opened. Jesse Green had mixed feelings about it, describing it in his review as “so expertly assembled from spare parts by the playwright Levi Holloway and the director Joe Mantello that you may not notice, between the jump scares and the shivery pauses, how little it has on its mind.”

Up next is “Once Upon a One More Time,” about the feminist awakening of fairy tale princesses set to the music of Britney Spears. That show will be followed by two other big musicals: “Here Lies Love,” about Imelda Marcos, a former first lady of the Philippines, with a score by David Byrne and Fatboy Slim; and “Back to the Future,” adapted from the hit film.

Broadway’s summer openings will also feature a comedian, Alex Edelman, performing his acclaimed solo show, “Just for Us,” as well as two comedic plays, “The Cottage,” which is a contemporary version of an old-school farce, and “The Shark Is Broken,” which is about the backstage chaos that challenged the making of “Jaws.”

In Fulda, Germany, a police officer shoots a young refugee fatally. Was the action justified or violent? Depends on who you ask.

An article by Sebastian Kempkens, published on the 22th of September, 2021.

Translated by @Grzmot

For the protection of the individuals involved, some details have been changed.

When everything is over, Lukas Weiler is leaning on a fence in the commercial district of Fulda and feels like everything around him is wrapped in cotton. He sees blue lights shimmer in the darkness and his colleagues run towards him, is how he later remembers the scene. Around him the streets are being locked down. In front of him lies the dead body of a young man, that he, a street police officer, just shot. A puddle of blood is spreading on the asphalt. Steam is rising from the corpse on this cool April morning.

At some point Weiler, who actually has a different name, forces himself up and walks, accompanied by two colleagues, the way back on which he pursued the young man. He crosses the intersection, where he fired the first shot. He walks past the bakery, where he drew his gun. The parking lot, where his colleague was attacked and where everything began.

Weiler sits down in a room in the police station, which is located just around the corner. A man from the team which collects evidence and traces from crime scenes shows up and swabs his fingertips, on which there is still blood of the dead. Weiler must hand in his uniform and weapon belt, he remembers. His equipment is now evidence. Then, shortly before 10 AM, two colleagues enter the room, who oversee the investigation against him, followed by the state attorney.
The state attorney said: “Mr. Weiler, you are now accused in a homicide.”
On the report the details of the case will be detailed: That it is about article 212 in criminal law – Manslaughter. Time of the crime: 4:30AM, weapon: pistol Heckler & Koch P30.
Lukas Weiler fired eleven shots at the 21 years old Matiullah Jabarkhel. An Afghan refugee, who had lived with a temporary residence permit in Fulda and had thrown rocks at a bakery. It’s the 13th of April 2018, a Friday, on which a police response which looked like a routine, ended in catastrophe.
Deadly use of force involving firearms, that sounds like an American phenomenon. But even if the numbers in Germany are low in comparison: They are rising. Between 2000 and 2014 the statistics of the German university of the police only noted a two-digit number in one year. Since 2015, it has been a double-digit number every year. In 2019 and 2020, the police have killed 15 people each year.
The statistic does not differentiate between ethnicity and age of the victims. But the cases which make the headlines sound similar.
In 2019 an officer shoots an Afghan in Stade, who allegedly attacked a colleague with a metal stick.
In June 2021 a female police office [Addendum: In German the gender of the subject is denoted with a simple word ending, I was unsure if I should retain that information or not in the translation] kills a man from Morocco in Bremen, who is holding a knife in his hand.
And in Hamburg, in May of 2021 an officer shoots a man from Lebanon, who screamed “Allahu Akbar” and was allegedly brandishing a knife.
Each one of these cases fits into a schema. Especially since the Black-Lives-Matter protests in the USA such situations – white officers against migrant – stand under suspicion to be the expression of a racist perpetrator-victim system.
Just two days after the death of Matiullah Jabarkhel dozens of people came together at the crime scene, under the motto “Justice for Matiullah” they held high pictures of Jabarkhel and demanded, that the officer be punished. The foreign advisor of the city, Abdulkerim Demir, stood in front of the demonstrating people and gave an interview, in which he said that Jabarkhel was only buy bread and that the police might have “murdered” him.
The opposing front formed just as well. The AfD and the extremist rightwing identarian movement mobilized under the motto “The police – Our friend”, in social networks numerous users wrote things like “The monkeys don’t get it any other way.”, “Everything done right.” And “Clear boundary setting by the police officer!”. A representative of the AfD for the Bundestag released a notice to the press: Chancellor Merkel ensured with her immigration policy, that these uncultured, underqualified people believe, they can do everything here.”
More then three years Matiullah Jabarkhel is now dead, more than three years – until the July of 2021 – the investigation lasted. And still one question remains unanswered: Who is guilty here? The officer, who shot? Or the Afghan, who ran riot on that morning?
For the reconstruction of the intervention on the 13th of April 2018 and the resulting investigation, the ZEIT had the ability to go through files of the police, coroner’s and forensical reports, talked to brothers of Jabarkhel and his friends. With social workers and translators. The ZEIT also met with officer Lukas Weiler for three long conversations. The officer did not want to see his real name in the news, nor the name of his colleague who was on patrol with him that day, who shall be named Regina Wundrack in this text.
A few hours after Lukas Weiler leaves the police station on that Friday of April 2018, the father of Matiullah Jabarkhel gets a call from Germany in a small village in eastern Afghanistan. On the other end is a voice he does not recognize. The father, himself a police officer, a slender man with his head half-bald, stands in the living room of the family. He begins to tremble as he listens, finally ends the call and says nothing for a long time. His wife and sons ask, what happened, but he is silent. Then, his four remaining sons tell, he begins to cry terribly.
On the second to last day of his life, it’s Thursday afternoon, Matiullah Jabarkhel enters the foreign office in Fulda, a large building near the castle garden. He is a slim young man with soft facial features, his hair shaved to a kind of mohawk, short on the sides, long on the top. He walks up to the office and complains, that his social money had not been transferred. The conflict cannot be resolved, Jabarkhel cannot be calmed down, so security notifies a man, who sits a floor higher up: The man, a retired officer, knows Jabarkhel and is able to calm him down and promises, the money will be transferred this afternoon, he could get it soon at his bank.
Jabarkhel exits the office. One of the last somewhat friendly contacts with a state, where he wanted to build a future.
Matiullah Jabarkhel grew up in a large, tight-knit family. Six brothers, three sisters, the family of eleven lived in their village near the city Dschalalabad, about 100 kilometers away from the Pakistani border. When the brothers tell of this time, it sounds like a childhood where war comes and goes, but where also a lot os good. Matiullah plays Cricket, he teases his brothers during prayers and he has big plans. He wants to become a police officer like his father. But after one brother dies in the Afghan Army during combat with the Taliban and the family received threats, the father decided: Matiullah will go to Europe.
Converted, about 10,000 EUR credit the family takes up on itself for this. Matiullah, according to their hopes, will repay the money soon and can support the family financially.
Iran, Balkan route, traffickers. In October 2015 Jabarkhel, 18 years old, arrives in Gießen. The euphoria of the welcome culture is already slowly fading, but in retrospect it looks like he had a good start. He is moved to Fulda and gets lodgings in a refugee center. There is little space and it’s dirty, says his best friend, who he met there, but Jabarkhel finds himself in these new circumstances, learns a few pieces of German. After a few months, he can move to a better lodging. He was intelligent, says everyone who dealt with him. On photos he poses in front of a Christmas tree.
On the phone he tells his family with excitement of Germany’s pine forests and the luxury of selecting between countless brands of chocolate at the grocery store. A social worker remembers that he often wears the same T-Shirt, on his breast the words “I Germany”.
Jabarkhel attends an integration class and learns decent Germany. Like in Afghanistan he plays Cricket in Germany too, apparently, he even travels the country, there is a photo showing him at the Tempelhofer Feld in Berlin. He wears a white shirt and is holding a cricket bat in his hand. With the other he forms the victory symbol.
In that time, a social worker describes his behavior as unremarkable, not warranting further attention. Nothing points towards the looming conflict with the police.

The office of the attorney Pascal Johann is in a practical building in Frankfurt. Here, at the end of a long corridor, in a conference room, in front of grey curtains, waits Lukas Weiler.
It is not common, that an accused police officer agrees to an interview with a journalist after a that hotly debated, conflicting intervention. He decided after thinking about it for a short time. He wants to correct something.
At the meeting with Weiler you meet a man, who strangely enough appears both younger and older, than he really is. Weiler is 39 years old, but he could also be at the end of his 20s. He wears a T-Shirt, worn skater shoes, a fuzzy beard, around his wrist several old entry bands for rock festivals. When he begins to talk, he appears significantly older, than he is, that’s how bureaucratic and complex his words sometimes are. He tries hard to make himself as unattackable as possible.
Weiler is a police officer more by chance than anything else. A friend dragged him to the entry exam. In his sixteen years of service, he worked undercover in the trainyard district in Frankfurt and as a group leader at the police. He showed young officers the ropes, but his favourite activity on the job was driving on patrol. He doesn’t like offices. He loves being outside, “Help the weak and step on the toes of the evil”, is how he calls it.
Matiullah Jabarkhel has been in Germany for about a year, when the problems start. Like during an EKG of a stressed heart, one can notice stronger eruptions every time they happen. At the start, he has has difficulties organizing his day to day tasks, then, he the paid out money isn’t enough anymore. A woman who lived in the same building says that the refugees talked about him a lot: “One man told me, that Matiullah told him multiple times, that he was hungry and if he could give him bread.”

“Please make sure, that the boy stays in Germany”

Jabarkhel, who always told his best friend that he wanted to become a doctor in Germany, soon only sporadically attends class, the school throws him out due to missing too many classes. His social worker organizes him an apprenticeship instead, but he gets thrown out there too. He takes the train without a ticket and gets letters full of complicated words like reminder and debt collection.
Apparently Matiullah Jabarkhel becomes more and more desperate. He talks about suicide, and apparently attempts one too. Then, in March 2017, the federal office for migration and refugees denies his request for asylum. Through an attorney he fights the decision, from now on he lives in Germany only with a temporary residence permit, which has to be renewed every few months.
A short time later Jabarkhel is institutionalized in a psychiatry and receives stationary care: “Crisis intervention due to acute stress reaction, cannabis intoxication with addiction”, the doctors note. Jabarkhel doesn’t make it long, after just three days he releases himself, “because of urgent personal wishes and against professional medical advice”.
In November 2017, five months before his death, Jabarkhel receives a letter, that for him, must sound like the last friendly offer from a state that wants him gone. In the letter the federal office for foreigners advises a so called “voluntary journey back in his home country.” Germany does not send denied refugees back to Afghanistan, but voluntary trips back home are being organized.
Jabarkhel reacts with violence. In December, he hits his best friend, with whom he shares a room, with his fist in his face: Brainn trauma, bruising of the cheekbone, police intervention. Shortly after he hits another refugee without any known reason at a bus stop, splitting his lip. On the Christmas eve 2017 he threatens three people living in his home with a knife with a 20cm long blade, because they supposedly do not want to share their food with him. In March of 2018, a month before his death, he threatens a young Iranian woman and shatters her broom.
The witness statements by his housemates in the investigation after his death sound like a mix of fear and empathy: On one hand the young man terrorizes the whole home, on the other many feel sorry for him. Jabarkhel’s life in Germany, which started out so promising, is completely out of control after one and a half years.
On the evening before his death an acquaintance spots him at the Fuldau train station, where the pedestrian passage goes into the building. He sits there a lot with other refugees. They talk, joke, kick around empty beer cans and whistle after girls. And not seldomly, the acquaintance says, “they eat glass”, meaning they take drugs – Ecstasy.
Who had to cross the group on the way to the store or to work, probably often was annoyed by the group of young men. In a lot of German downtowns you can find them, hanging out in groups. They come from Syria, Somalia, Irak or Afghanistan. Sometimes they look sympathetic, sometimes threatening. In their home country they are thought to be the lucky ones that made it, but often enough they are broken people – with differing life stories that all go towards the same end: endless waiting, solitude and lack of perspective. And the feeling of being stranded between worlds, maybe even lost.
A doctor at one point diagnosed the Uprooted-syndrome in Jabarkhel, which is also called the Odysseus syndrome: A type of collective diagonisis of psychical ailments of refugees, which during their odyssey across the continents have lost everything that made up their world – Friends, family, home, their moral system, the inner compass.
At some point Jabarkhel couldn’t hold it together anymore. At a school conference, the topic being his missing classes, he called his father. A present translator said that he begged his father to be allowed to return to Afghanistan. The father had said: “Please make sure that the boy stays in Germany. We have sold everything, we have nothing left, we cannot use him here.”
Jabarkhel, the translator remembers, cried afterwards, “like a small child”.
Often now, Jabarkhel sits alone in the refugee home and talks to himself about nonsensical things. At night he is rarely home, always out for a long time, can’t sleep anymore, wakes up with headaches, he tells a doctor. Sometimes he punches and kicks the air, as if he was fighting an invisible enemy. At one point during a meeting with his social worker he stands in front of the office and says, “I am Hitler.” Multiple times.
The man responsible for the refugee home does his best to guide Jabarkhel back to the right path. But he is still responsible for sixty other refugees as well. A lot of other people dealing with Jabarkhel says the same: they want to help, but they have too little time.
Eight days before his death, 5th of April 2018, Jabarkhel makes a fundamental choice, which shocks the other refugees in the home: he signs the agreement for the voluntary journey back home, against the will of his father. By signing, he agrees to drop the complaint against his denied request for asylum. As if he had given up.

“The guy just wanted to destroy me”

Lukas Weiler’s night shift on the 13th of April is almost at its end, when he and his partner Regina Wundrack decide at about 4 AM to go out and control traffic and parked cars. Drivers, who were already getting to work will later tell investigators of a young man in a muscle shirt and Army pants: One window car he hits with his fist, in front of another he jumps directly into the street. It is Matiullah Jabarkhel.
The refugee home, in which proximity everything happens, is located in Münsterfeld, a former military outpost. Once upon a time, the Americans were stationed here. Today, there are a few apartments, otherwise mostly closed off commercial company grounds and offices.
Jabarkhel lives in room B39, on photos it looks abandoned. Ten square meters, metal lockers, a dirty refrigerator, cigarette butts on the window rest. At night, the neighbour heard, how Jabarkhel was hitting his head against the wall. “It happened so often, that after some time I recognized the sound”, he said later as a witness. But this time it sounded louder and more desperate. At approximately 4 AM in the morning he hears Jabarkhel run down the metal stairs, sees how he wanders in front of the building, yelling in German: “Fuck Germany, fuck the street, fuck this county!”
At 4:21 AM an emergency call is received at the police, originating from the bakery opposite of the refugee home. On the phone is the saleswoman, who wants to prepare the store for the first customers: “Here is someone, who is throwing rocks at the window.” In the background you can hear loud banging noises, is how it is written in the investigation files. “Fuck, shit, psychopath!” the woman yells.
Two minutes later the woman calls again. “A refugee or whatever” is still throwing with rocks, the delivery driver was hit on the head, she needs a doctor.
It only takes a few minutes until a police car enters the roundabout at the bakery. Not Lukas Weiler and Regina Wundrack are the first ones to arrive, but three colleagues: Driving and at the backseat two women, and riding shotgun one man.
The man will later say: “A male person” from the direction of the bakery had crossed the street: “My first thought was, that that might be the person that threw the rocks. But he was running pretty normally across the street.” Then the man suddenly attacked.
With a big rock, that he apparently picked up from the street, Jabarkhel breaks the side window of the car, opens the door and starts attacking the officer wildly with the rock. His colleague behind the wheel does not know how to help herself and hits the gas, dragging Jabarkhel about 200 meters while he wildly hits everything around himself. Then he falls to the ground, gets up and runs away. On a video that the ZEIT has seen you can see silhouettes, probably the male officer and behind him his two colleagues, following Jabarkhel to an unlit parking lot.
What happens later, will cause a lot of discussion. Three police officers, equipped, against a young man, who isn’t very tall at 1.70 meters nor very muscular – The result should be obvious.
The three officers from the first car however, are not federal police officers, but so called “Wachpolizisten” (watch police officers). Such officers have a shorter time of education and are mostly used for things like transporting prisoners or guarding objects. On this morning, the three have a task which they cannot handle.
It only takes a couple of seconds, until Jabarkhel has overwhelmed the male officer, apparently he takes away his baton and assaults the man lying on the floor heavily, his two colleagues unable to help.
Jabarkhel appeared like a “wild animal” one of the two will later say. She was afraid that her colleague would “lie dead under him”. The colleague himself say: “This guy just wanted to destroy me with an intensity that I have never witnessed in my life.” He describes Jabarkhel like a zombie: “massive, aggressive, dead eyes, unable to feel pain.”
Most likely there will always be doubts about the story. A coroner will later find cannabis in in a toxicological exam. But that does not explain the behavior. It reminds more of “the influence of certain psychoactive substances”, writes the coroner. But his laboratory cannot check the corpse for such drugs, a sample would have to be sent to a specialized laboratory. Which the state attorney never requested.
A few seconds after the male officer falls to the ground, Lukas Weiler and his patrol colleague Regina Wundrack arrive at the parking lot, running. The request for help reached them, while they were checking a car. Weiler immediately realizes, that the situation is serious. He jumps over a hedge, which is why he arrives a few seconds before his colleague Wundrack at Jabarkhel.

Was his behaviour a “suicide by cop”?

He hits Jabarkhel with his baton on his upper arm, he remembers. Jabarkhel immediately stopped assaulting his colleague and turned towards Weiler. Weiler moved back and tripped, losing his baton. Jabarkhel runs past Weiler, away from the parking lot, some stairs down towards the street. Weiler pursues.
Near the bakery, Jabarkhel stops. Weiler says, he hit Jabarkhel with a load of pepper spray straight into his face. From behind his colleague Wundrack sees, how Jabarkhel shudders, wipes his face with his hand and continues running. Later it will come out, that the pepper spray was most likely defective.
He ordered Jabarkhel to stop and drop the baton, says Weiler. But he didn’t react, instead kept on running.
Weiler pulls his gun and keeps up the pursuit.
In Hessian law about public security it’s clearly stated, when police officers are allowed to use their firearms: They can “only be used against persons to stop an immediate danger either against body or life.”
Was Weiler in immediate danger?
Jabarkhel and Weiler ran for about 100 meters when the officer overtake the Afghan. He wants to arrest him together with his colleague Regina Wundrack, but she is too far away. She can only see, that the two are facing each other, Jabarkhel with his back towards her. A person living nearby later would state as a witness that he heard someone yell “Stop moving, stop moving or I will shoot!”
When he yelled that, says Weiler, Jabarkhel looked at him.
What happens then, to this day cannot be determined without any doubts. Weiler and Jabarkhel are about two to three meters apart. Weiler says, Jabarkhel fixated his eyes on him, and then ran towards him. He, Weiler, moved back and shot at the legs of the attacker. Regina Wundrack, who was standing a few meters behind Jabarkhel, describes however, that there was no movement of the Afghan towards Weiler, when he started shooting. Another witness could only approximately see what happened and remembers “lightning” in the darkness, the muzzle fire of the shots.
Did Weiler shoot to soon?
The state attorney will later say, that “on the first impression” shooting “could be determined as not needed”, because Jabarkhel and Weiler were static. On the other hand, the attorney says, Jabarkhel was “without a doubt” still holding the baton, and it is unclear, “if his manner, words or behavior indicated another looming attack of the killed.” Factoring in Jabarkhel’s previous behavior, it cannot be assumed, that he was thinking about “capitulation”.
Thomas Feltes has researched cases like the one from Fulda for years, cases, in which often young men against all rationality and a stronger power on the side of the police, riot and risk the lives of the officers – and their own. Feltes works as a police researcher at the Ruhr university Bochum. The case Jabarkhel, he says, fits a trend: About three quarters of those shot and killed by the police are mentally ill.
For this task, Feltes says, officers are not well prepared. He recommends, that the officers retreat to deescalate the situation and play for time, for example until the civil reinforcement can arrive, like the psychological service. In most cases however, they do the opposite, and attempt to resolve the situation with force. Especially when it comes to the mentally ill, it can lead to catastrophe. The larger the built up pressure, the larger the sense of danger of the mentally ill – and the fiercer their resistance.
But Feltes also says, that the concrete situation is hard to estimate in this case. Who can say, if Weiler had another choice? Wnad what would have happened if he let Jabarkhel run? Would he have attacked someone else?
That Jabarkhel might have been mentally ill, will also play a role in the investigation of the federal police. The officers will introduce a “suicide by cop” theory. Most of the studies on the topic come from the USA. According to it, Jabarkhel provoked until a police officer would shoot him.
In Germany, only few researches have investigated the topic of suicide by cop. One of them is Dietmar Heubrock. The law psychologist from Bremen has written a guide for officers, that if you read it, you have to think of Matiullah Jabarkhel. Heubrock says, the provoked self killing often was “a spontaneous decision”. A lot of perpetrators are under the influence of drugs and were mentally ill. The need to force the decision of suicide on someone else, often has cultural reasons – in Arabian cultures suicides are a grave sin.
And still: it only is a theory. Under experts, a controversial one. It could be used to justify the behavior of the police in retrospect, because he didn’t want it any other way.

“I would have done the same with any other violent perpetrator”

On that morning in Fulda, Weiler apparently shoots three times. They miss. Then his gun fails to load, later an unfired bullet will be found on the street. According to Weiler Jabarkhel charges Weiler, as soon as he realizes that he cannot shoot, and starts beating him with the baton.
For a few seconds, Weiler and Jabarkhel are out of the view for his colleague. Weiler says, he was running backwards up the slight hill, trying to solve his failure to load and stop the bleeding Jabarkhel.
A person living close by, who was watching from his terrace, recalls Weiler’s calls: “Stop, stop”. But Jabarkhel was “still charging him, aggressively, he didn’t stop, nothing”, says the man later during a reconstruction of the scene. Regina Wundrack too sees them both again, and she too sees how Jabarkhel is charging her colleague with the baton.
Then Weiler fixes his failure to load, ejecting the unfired bullet. And fires from a short distance, until he has an effect, just how he learned it: He fires until Jabarkhel stumbles backwards and falls to the ground. At the end, Weiler goes to his knees too. “Shit, I shot a person”, he says, his colleague hears as she comes running. Weiler himself, cannot remember anymore.
In his report the coroner will later list all shot wounds: Neck, rib, right upper thigh, between the shoulder blades. In total, eleven shots were fired, four hit Jabarkhel, from a maximum distance of 2.5 meters. The entry wounds fit into Weiler’s testimony; the coroner writes.
At 4:49 AM the female emergency doctor determines Matiullah Jabarkhels death. Cause of death: Bleeding out due to shot wounds with disconnection to vital organs.
In the conversations at the law firm in Frankfurt, Weiler appears distanced and analytical, when talks about the details. He is surprised how you function in such a situation. Again and again he says, he worked through the escalation protocol: Baton, pepper spray, threat of shooting, shooting the legs, final shots at torso. In the end, he had no other choice. “If I didn’t act the way I did, I would’ve been lying on the street, and maybe someone else too.”
There are other theories on why officers shoot migrants. They too, come from the USA, but in contrast to suicide by cop they don’t focus on the mental state of the victim, but of the shooter. Studies regarding the so called shooter bias imply: police officers in a dangerous situation tend to shoot someone with darker skin – because there is a deep connection in their brains that is being accessed. Black equals dangerous. Arabian equals dangerous.
You can absolutely ask yourself if Lukas Weiler would’ve shot eleven times in the same situation if the perpetrator was white an German. But at the same time, police researcher Thomas Feltes warns the same way he did before, to explain a situation like Fulda with a singular cause – too complicated is the situation to be explained by something like shooter bias.
If you ask the Fulda police president Günther Voß for Weiler’s track record, he describes him as a very good colleague. No wrong behavior on his track record, in conversations the officer doesn’t say anything, which could even generously be understood as racist. He seems reflective, provocative questions he answers smartly and attempting to calm the conversation. During the investigation of the ZEIT, we receive a screenshot from an anonymous sender, showing the Facebook page of Weiler, under a slightly different name. You can see, what groups he has subscribed to. A Biergarden [Addendum: Imagine Oktoberfest, but way smaller, usually local annual celebration of something with the excuse to consume beer], a DIY workshop for children.
Under that, a red logo with the words “Protect home country – Stop asylum fraud!”, the title of the page: “No more asylum homes in Germany”, next to it another site, that Weiler has subscribed to: “AfD party in the German Bundestag”
Weiler reacts shocked, if you confront him with that screenshot. He confirms, that it is his profile. That he subscribed to those groups, he was not aware of that. He is almost never on Facebook, he does not support a political stance like that. Maybe he added the sites on accident, when he read comments related to the case. “I would’ve done the same with every different perpetrator as well – the skin colour was and is not a factor for me at all.”
One week after his death Matiullah Jabarkhel’s coffin lands in Kabul. The two older brothers pick him up and drive him home in a rented ambulance. When the family opens the body bag and sees the wounds all over his body, the mother faints. When the coffin is moved to the graveyard two hours later, she feverishly holds on to it, the brothers say.
Hundreds show up for the burial. The parents almost collapse there, also because some guests say: You shouldn’t have sent him to Europe, he’d still be alive then.

Every side sees itself as the victim and everyone else as the perpetrator

A short time later the father dies, aged 55, heartattack. His wife is brought to the hospital as well two days later, with high blood pressure and vertigo. Two weeks later she dies too, stroke. That’s how the brothers of Matiullah Jabarkhel describe it. The parents, they say, couldn’t handle the death of their son.
In Fulda photos soon begin to circulate, that apparently were taken in Afghanistan: the in white cloth wrapped face of Jabarkhel, his skin dotted with blue spots.
Lukas Weiler is driving in his car at that time, passing a protest banner. At one of the main roads he read in big letters: “What happened to Matiullah?” He asked himself at that time, why no one cared, what happened to the officer, says Weiler.
About a year passes, the state attorney stops the investigation, result: No credible belief in a crime. “For an alternative series of events of the final shooting, partly how the public calls it, an “execution” of Jabarkhel, there is simply not enough proof.” Writes the state attorney.
It doesn’t lead to the calming of the conflict. Not it only really begins. Exactly one year after Jabarkhe’s death in April 2019, people once again demonstrate, one of them would later be indicted. Another one supposedly yelled: “Cops murder, the state deports, what a bunch of racists!” another one held a protest sign high: Who do you call when cops murder?
If you talk with people from the left who attended the protests, then you often get counter questions for your questions. If you didn’t see what happened in Hanau? Or in Halle? If you’ve heard of the NSU 2.0? In chat groups, where police officers apparently exchanged racist messages, colleagues of Lukas Weiler were in them as well.
Two activists from Frankfurt publicize a blog post, title: “Police kills refugee, demonstrators demand resolution and are defamed”, they write, Jabarkhel had been killed with 11 shots. The police office accuses the two activists of libel. Reason: It was eleven shots, of which only four hit. But only people who know the investigation file know that.
And so the fronts harden. The leftists complain about racism and police violence, without considering in detail, the actions of the police officer. And the Fulda police searches the home of a journalist, because people shared the blog post in his Facebook group. Which causes the leftists to think that they were right.
On one side the apparently white, strong state. On the other the weak refugee and his supporters. Every side sees itself as the victim and the other as the perpetrator. And every side can call upon a theory that supports them. Here the suicide by cop hypothesis, there the shooter bias.
While the storm rages outside, Lukas Weiler attempts to understand his feelings. To get away from it all, he goes patrolling. For the left a scandal – How can it be, that an accused is still on the job? For Weiler, the day to day becomes more and more difficult, both at work and at home. He talks with a police doctor and a psychiatrist, “Work accident support” is written in the document handed to him by the relevant authority, in bold letters the diagnosis: “post traumatic stress disorder” and “problems dealing with depressive symptoms and symptoms of bitterness”.
At least the investigation is behind him. But then in 2019, the video appears, which shows his colleagues following Jabarkhel to the parking lot. A group of young adults filmed the video and only now informed the police. The state attorney reopens the case, asks the new witnesses, it’s apparent, how complicated the case is, how difficult a final verdict will be.
In July of 2019 the investigation is closed again. The German attorney of the family Jabarkhel appeals. The investigation is re-reopened. And finally closed for good. There will not be a case.
The brothers of Matiullah Jabarkhel say, they don’t understand how the officers got away with it. If you talk to them through a video call, they cry a lot, and hold each other in their arms, interrupt the interview again and again.
Lukas Weiler says, he has the feeling of being publicly shamed, even though he was only doing his job. He has decided to stop doing patrols. He, that always wanted anything but a job behind a desk, requested to be retrained to an emergence call responder, where he would sit at a desk, in front of him a phone, and take emergency calls.
Cooperation: Amdadullah Hamdard
Behind the story: To contact the family of the dead Matiullah Jabarkhel in rural Afghanistan, the author of the story talked to Amdadullah Hamdard, a local employee of the ZEIT. He visited the family in May 2021. It was his final mission for the ZEIT. In August Amdadullah Hamdard, who was on the death list of the Taliban, was shot in front of his house.

What do you dislike about tildes?

Overview

I read through the 'what do you dislike about tildes?' responses and attempted to classify them. A link to the excel document containing one row for each comment, a classification, and totals is provided. I figured a deep dive into this question (I am considering doing a deep dive on the other end of the spectrum - what do you like about tildes) may provide some insight on how we, as a community, can strive to be better.

Here's what I found:

Total number of free-text comments: 181
No comment, N/A, "nothing", etc.: 14

Tildes is too small

44% of the user-base indicated that they felt that Tildes was currently too small. There's really not a lot to be said here, other than a large number of those who filled out the survey wanted to express that they felt Tildes should still continue to grow.

I think a major point of discussion here should be around how best to grow. What do you like about tildes is not covered in this post, but some common themes are around enjoying the discussion and the community. Many individuals also seem to like the small community, showing an interesting division between a like and dislike of the size. From my own perspective, I enjoy how I recognize and see many of the same users on this website, but I also don't enjoy how the size leads to a lack of diversity and content.

Diversity, Tech-centric

Both of these topics are hitting on the same fundamental problem, which could be seen as an extension of the size of Tildes, but really refers more to who is using Tildes, rather than how many users. There is a lot of overlap between these two classifications, but sometimes people mention the tech centrism as a problem of content (too many tech/computing discussions) and not a problem of culture. In these cases there's not complete overlap.

Many individuals commented both on the size of the community and the diversity. Overall, roughly 23% of individuals who responded commented in some fashion on the lack of diversity on the website. The general sentiment from people who commented on the need for diversity was that Tildes was white, male, and working in tech. Given that the survey found 86% of us are male, the majority work in STEM and are primarily based in the US, this is not a very surprising finding.

An important point of reflection comes out in some of the longer form comments here and I think is also captured in many people who felt that tildes was "too serious" - discourse is firmly rooted in STEM interests. Several comments discussed a desire to see more artistic/creative discussions. There was also a strong sentiment for more non-US centric discussion. Interestingly (and perhaps described by our rather large LGBTQ+ contingent), diversity mostly focused on the dominance of male opinions (sometimes I wonder how people know what gender is behind a username unless they specifically state so) and the only comment on LGBTQ+ diversity was that there was a "lack of posts about anything other than tech or lgbt+ politics".

Intolerance

Intolerance is the unwillingness to accept views, beliefs, or behavior that differs from one's own. Many comments talked about users 'talking past' each other, getting into long bickering arguments that went nowhere, or targeted harassment of some sort. Several people mentioned specific users or powerusers not operating under good faith, and users which annoy or are hostile towards them.

If a user is being hostile to you, please report their comments.

While only 8.4% of us reported intolerance as being something they actively disliked, it is troublesome to see. I don't have a good frame of reference of what an 'acceptable' level is, because you're bound to have some people who are more emotionally sensitive than others and confrontations that don't always end the way you want them to. I hope we can discuss this in a broader context, however, because I have personally seen what I believe is an increasing number of intolerant posts often masquerading as 'honest discourse'. Whether this is me jumping to conclusions about potential alt-right trolls (which I do not discount) or an actual increase in not-so-good-faith arguments, I don't know, and would like to hear how you all feel.

As an aside, I wonder if I'm included in any of these lists of annoying powerusers, or if I was the one who 'picked a fight' with someone and got their 'comments deleted and that REALLY annoyed me'. If I am, please send me a message. I greatly enjoy most of you but I also know that I'm human and make mistakes and whether I agree with you or not, it's not cool to forget the human on the other side of the computer.

Elitism

Generally speaking any comments around power-users or some users believing their opinion, culture, or viewpoint is more important or more correct landed the comment in the category of elitism. Certain users being 'combative', 'bickering', and 'pedantic' came up several times. With regards to powerusers, they were generally mentioned alongside some form of narcissism or a 'holier-than-thou' attitude. Reddit hivemind or a lack of diversity was also sometimes cited alongside complaints of elitism.

I used to be much worse when it comes to this, and the constant back and forth with people who will not have their viewpoint changed. I believe I've learned to tailor this and cut off conversations sooner, but I know that some individuals can at times get under my skin, particularly when they are being actively harmful to minorities or other groups with limited power, speech, or representation. With that being said, I wonder how best we can provide a culture to teach others to limit their responses when they go nowhere. There was at least one mention of how limiting the response rate between individuals had cut off two users who were always bickering over politics, so perhaps a more aggressive form of this?

But I also wonder what we can't do as a community together to actively recognize and point out when two people are not able to reach an agreement and to jump in and mediate or otherwise help them to stop a pointless argument.

Website Functionality

Several people commented on a lack of a mobile app, a want for embedded images and videos, and the voting system. Other suggestions - comment threading, user blocking, differentiation between reasons why a post was bumped in the activity feed (?), mobile design (easier to click links), a desire for a more robust topic log, and that the website is too minimalist/sterile.

Tildes is too serious

Only a single person complained that tildes was not serious enough (or perhaps not, you decide... they said, "increasing creep of low effort posts"). The majority of posts complaining about tildes being too serious were often also complaints about people bickering. When it wasn't about how users interacted, it was about the form of dicussion available - people often brought up the "meaningful conversation" portion of the tildes documentation and culture, but often had a desire to have memes, shitposts, humor, or some outlet for conversation that isn't as effort based. Perhaps they like the culture and just want to do more with the people here? Perhaps they simply want to get to know their fellow users in a way they can't currently.

From my own perspective, I'd love to see more memes and humor. I tend to shitpost a lot on the unofficial discord. I've seen quite a few of you all on there as well, and would highly recommend it to anyone who feels like they want to get to know other users better.

Politics

More people complained about Tildes being too left than too right, which makes sense given the aggregated political compass from the survey. I think more people complained about there being too much politics than commented on politics whatsoever. I'm leaving this section relatively small because I'm not sure this is something that needs significant discussion at this point. But if you feel strongly, please help to direct a discussion in this thread.

Post-script

I hope you all found this analysis useful and a good starting point for discussions. I really do love this platform and have found it to be quite literally life changing. If you found it useful and want to return the favor, check out my soundcloud