i hate video essays reddit

Here's a video essay about why video essays are bad

We write a lot about video essays . A lot . As fans of pop culture, it can be fun for us to see someone take a deep, obsessive dive into a film, TV show, pop culture trend, or genre. But, what if video essays, specifically those that trade in well-polished film analysis, are actually bad? That’s the thesis put forward by YouTuber BluShades in a recent video— ironically presented in the video essay format .

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The main thrust of BluShades’ argument is that, while essays from YouTube mainstays like The Nerdwriter , Lindsay Ellis , and Lessons From The Screenplay are all extremely well produced, they may just be gussied up opinion pieces. The danger in this is that the analysis contained in those videos is taken as fact by the viewer because of the convincingly academic delivery. Rather than present an analysis of a creator’s work as the end-all, be-all interpretation, BluShades would prefer if video essayists leaned more towards subjective analysis rather than relying on a bunch of cliché techniques and analyses learned from other video essays.

This isn’t necessarily a new criticism. Over the years, there have been theorists who opposed the reliance on rigid, academic analysis as the only way to discuss art—Susan Sontag’s essay “ Against Interpretation ” being one example. After watching the umpteenth 20-minute video breaking down every single one of David Fincher’s shots, the draw of the subjective becomes a bit more understandable. Still, it remains to be seen how interesting it would be to watch a bunch of videos of people saying, “Here is a movie I saw and here is why I liked it.” Maybe the answer, like with most things, lies somewhere in the middle.

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What to do if you dislike writing research or academic papers.

BY DAVID GUTIERREZ

Unfortunately, even if you hate writing academic papers more than anything else in the world, you still have to do it if you want to graduate successfully. However, it is possible to alter one’s attitude towards something – often to a greater degree than you may believe. Here are some techniques that can make writing your next academic assignment bearable, if not outright pleasant.

1.    Take breaks

Taking regular breaks is important in any kind of work, and writing is no exception. Divide your assignment into a number of reasonably small parts and promise yourself to take a break after you successfully complete each of them. Both the parts and the breaks may be as large or small as it is useful for your situation. For example, if you write an essay, you can take 5-minute breaks every 200 words. If you write something more substantial, both the parts and the breaks can be larger. Do something pleasant in the course of your breaks – this will motivate you to complete each part faster.

2.    Eliminate distractions

When you do something you hate, every potential distraction is twice as enticing as it usually is. This means that if you are surrounded by distractions while you write your academic paper, you are likely to get distracted all the time. To prevent this, single out the things that are likely to attract your attention as you work and remove them from you. If it is structure and general layout of the paper that give you trouble, consider custom term papers for sale. Block distracting websites using Leechblock or RescueTime, turn off notifications, switch off your smartphone, block out the external noises by some music in your earphones.

3.    Find a writing place that works for you

If you do something you hate, you should at least do it somewhere you feel comfortable. Where it exactly depends on your preferences: some like to work at home, others prefer a nice café; still others find it inspiring to work in the park. Take your pick.

4.    Don’t try to write like somebody else

One of the reasons why you may hate writing is because you believe that you shouldn’t write in your own voice. You think you need to imitate either someone else or to write in an affected manner that has little in common with your own way of thinking and writing. Most likely, you are wrong, and your writing will only be improved if you choose to follow your heart and write the way you like.

5.    Practice

Another reason why students hate writing academic assignments is that they are not very good at writing. The reverse is true as well – once you learn how to write more or less well, you start feeling pleasure doing it. Do a bit of practice writing assignments of the type you have to write most often. Who knows? Perhaps, it will grow on you.

6.    Don’t be perfectionistic

Perfectionism is equally deadly both for enjoyment received from writing and the results achieved. Don’t try to make every sentence perfect – it is impossible. Write reasonably well, don’t go crazy correcting what you’ve already written because you will never finish doing it.

Learning to love writing is hard and long work, and we don’t claim that everybody is capable of doing it at first attempt. But making writing pleasant is achievable – and you can do it.

David Gutierrez has worked in the field of web design since 2005. Right now he started learning Java in order to get second occupation. His professional interests defined major topics of his articles. David writes about new web design software, recently discovered professional tricks and also monitors the latest updates of the web development.

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The video essay boom

Hour-long YouTube videos are thriving in the TikTok era. Their popularity reflects our desire for more nuanced content online.

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The video essay’s reintroduction into my adult life was, like many things, a side effect of the pandemic. On days when I couldn’t bring myself to read recreationally, I tried to unwind after work by watching hours and hours of YouTube.

My pseudo-intellectual superego, however, soon became dissatisfied with the brain-numbing monotony of “day in the life” vlogs, old Bon Appétit test kitchen videos, and makeup tutorials. I wanted content that was entertaining, but simultaneously informational, thoughtful, and analytical. In short, I wanted something that gave the impression that I, the passive viewer, was smart. Enter: the video essay.

Video essays have been around for about a decade, if not more, on YouTube. There is some debate over how the form preceded the platform; some film scholars believe the video essay was born out of and remains heavily influenced by essay films , a type of nonfiction filmmaking. Regardless, YouTube has become the undisputed home of the contemporary video essay. Since 2012, when the platform began to prioritize watch-time over views , the genre flourished. These videos became a significant part of the 2010s YouTube landscape, and were popularized by creators across film, politics, and academic subcultures.

Today, there are video essays devoted to virtually any topic you can think of, ranging anywhere from about 10 minutes to upward of an hour. The video essay has been a means to entertain fan theories , explore the lore of a video game or a historical deep dive , explain or critique a social media trend , or like most written essays, expound upon an argument, hypothesis , or curiosity proposed by the creator.

Some of the best-known video essay creators — Lindsay Ellis, Natalie Wynn of ContraPoints, and Abigail Thorn of PhilosophyTube — are often associated with BreadTube , an umbrella term for a group of left-leaning, long-form YouTubers who provide intellectualized commentary on political and cultural topics.

It’s not an exaggeration to claim that I — and many of my fellow Gen Zers — were raised on video essays, academically and intellectually. They were helpful resources for late-night cramming sessions (thanks Crash Course), and responsible for introducing a generation to first-person commentary on all sorts of cultural and political phenomena. Now, the kids who grew up on this content are producing their own.

“Video essays are a form that has lent itself particularly well to pop culture because of its analytical nature,” Madeline Buxton, the culture and trends manager at YouTube, told me. “We are starting to see more creators using video essays to comment on growing trends across social media. They’re serving as sort of real-time internet historians by helping viewers understand not just what is a trend, but the larger cultural context of something.”

any video that starts with "the rise and fall of" I'm clicking on it no matter the topic — zae | industry plant (@ItsZaeOk) February 23, 2022

A lot has been said about the video essay and its ever-shifting parameters . What does seem newly relevant is how the video essay is becoming repackaged, as long-form video creators find a home on platforms besides YouTube. This has played out concurrently with the pandemic-era shift toward short-form video, with Instagram, Snapchat, and YouTube respectively launching Reels, Spotlight, and Shorts to compete against TikTok.

TikTok’s sudden, unwavering rise has proven the viability of bite-size content, and the app’s addictive nature has spawned fears about young people’s dwindling attention spans. Yet, the prevailing popularity of video essays, from new and old creators alike, suggests otherwise. Audiences have not been deterred from watching lengthy videos, nor has the short-form pivot significantly affected creators and their output. Emerging video essayists aren’t shying away from length or nuance, even while using TikTok or Reels as a supplement to grow their online following.

One can even argue that we are witnessing the video essay’s golden era . Run times are longer than ever, while more and more creators are producing long-form videos. The growth of “creator economy” crowdfunding tools, especially during the pandemic, has allowed video essayists to take longer breaks between uploads while retaining their production quality.

“I do feel some pressure to make my videos longer because my audience continues to ask for it,” said Tiffany Ferguson, a YouTube creator specializing in media criticism and pop culture commentary. “I’ve seen comments, both on my own videos and those I watch, where fans are like, ‘Yes, you’re feeding us,’ when it comes to longer videos, especially the hour to two-hour ones. In a way, the mentality seems to be: The longer the better.”

In a Medium post last April, the blogger A. Khaled remarked that viewers were “willing to indulge user-generated content that is as long as a multi-million dollar cinematic production by a major Hollywood studio” — a notion that seemed improbable just a few years ago, even to the most popular video essayists. To creators, this hunger for well-edited, long-form video is unprecedented and uniquely suitable for pandemic times.

The internet might’ve changed what we pay attention to, but it hasn’t entirely shortened our attention span, argued Jessica Maddox, an assistant professor of digital media technology at the University of Alabama. “It has made us more selective about the things we want to devote our attention to,” she told me. “People are willing to devote time to content they find interesting.”

Every viewer is different, of course. I find that my attention starts to wane around the 20-minute mark if I’m actively watching and doing nothing else — although I will admit to once spending a non-consecutive four hours on an epic Twin Peaks explainer . Last month, the channel Folding Ideas published a two-hour video essay on “the problem with NFTs,” which has garnered more than 6 million views so far.

Hour-plus-long videos can be hits, depending on the creator, the subject matter, the production quality, and the audience base that the content attracts. There will always be an early drop-off point with some viewers, according to Ferguson, who make it about two to five minutes into a video essay. Those numbers don’t often concern her; she trusts that her devoted subscribers will be interested enough to stick around.

“About half of my viewers watch up to the halfway point, and a smaller group finishes the entire video,” Ferguson said. “It’s just how YouTube is. If your video is longer than two minutes, I think you’re going to see that drop-off regardless if it’s for a video that’s 15 or 60 minutes long.”

Some video essayists have experimented with shorter content as a topic testing ground for longer videos or as a discovery tool to reach new audiences, whether it be on the same platform (like Shorts) or an entirely different one (like TikTok).

“Short-form video can expose people to topics or types of content they’re not super familiar with yet,” Maddox said. “Shorts are almost like a sampling of what you can get with long-form content.” The growth of Shorts, according to Buxton of YouTube, has given rise to this class of “hybrid creators,” who alternate between short- and long-form content. They can also be a starting point for new creators, who are not yet comfortable with scripting a 30-minute video.

Queline Meadows, a student in Ithaca College’s screen cultures program, became interested in how young people were using TikTok to casually talk about film, using editing techniques that borrowed heavily from video essays. She created her own YouTube video essay titled “The Rise of Film TikTok” to analyze the phenomenon, and produces both TikTok micro-essays and lengthy videos.

“I think people have a desire to understand things more deeply,” Meadows told me. “Even with TikTok, I find it hard to unfold an argument or explore multiple angles of a subject. Once people get tired of the hot takes, they want to sit with something that’s more nuanced and in-depth.”

@que1ine link in bio #fyp #filmtok #filmtiktok #videoessay ♬ Swing Lynn - Harmless

It’s common for TikTokers to tease a multi-part video to gain followers. Many have attempted to direct viewers to their YouTube channel and other platforms for longer content. On the contrary, it’s in TikTok’s best interests to retain creators — and therefore viewers — on the app. In late February, TikTok announced plans to extend its maximum video length from three minutes to 10 minutes , more than tripling a video’s run-time possibility. This decision arrived months after TikTok’s move last July to start offering three-minute videos .

As TikTok inches into YouTube-length territory, Spotify, too, has introduced video on its platform, while YouTube has similarly signaled an interest in podcasting . In October, Spotify began introducing “video podcasts,” which allows listeners (or rather, viewers) to watch episodes. Users have the option to toggle between actively watching a podcast or traditionally listening to one.

What’s interesting about the video podcast is how Spotify is positioning it as an interchangeable, if not more intimate, alternative to a pure audio podcast. The video essay, then, appears to occupy a middle ground between podcast and traditional video by making use of these key elements. For creators, the boundaries are no longer so easy to define.

“Some video essay subcultures are more visual than others, while others are less so,” said Ferguson, who was approached by Spotify to upload her YouTube video essays onto the platform last year. “I was already in the process of trying to upload just the audio of my old videos since that’s more convenient for people to listen to and save on their podcast app. My reasoning has always been to make my content more accessible.”

To Ferguson, podcasts are a natural byproduct of the video essay. Many viewers are already consuming lengthy videos as ambient entertainment, as content to passively listen to while doing other tasks. The video essay is not a static format, and its development is heavily shaped by platforms, which play a crucial role in algorithmically determining how such content is received and promoted. Some of these changes are reflective of cultural shifts, too.

Maddox, who researches digital culture and media, has a theory that social media discourse is becoming less reactionary. She described it as a “simmering down” of the hot take, which is often associated with cancel culture . These days, more creators are approaching controversy from a removed, secondhand standpoint; they seem less interested in engendering drama for clicks. “People are still providing their opinions, but in conjunction with deep analysis,” Maddox said. “I think it says a lot about the state of the world and what holds people’s attention.”

no u know what i HATE video essay slander......... they r forever gonna be my fav background noise YES i enjoy the lofi nintendo music and YES i want a 3 hour video explaining the importance of the hair color of someone from a show i've never watched — ☻smiley☻ (@smiley_jpeg) January 19, 2022

That’s the power of the video essay. Its basic premise — whether the video is a mini-explainer or explores a 40-minute hypothesis — requires the creator to, at the very least, do their research. This often leads to personal disclaimers and summaries of alternative opinions or perspectives, which is very different from the more self-centered “reaction videos” and “story time” clickbait side of YouTube.

“The things I’m talking about are bigger than me. I recognize the limitations of my own experience,” Ferguson said. “Once I started talking about intersections of race, gender, sexuality — so many experiences that were different from my own — I couldn’t just share my own narrow, straight, white woman perspective. I have to provide context.”

This doesn’t change the solipsistic nature of the internet, but it is a positive gear shift, at least in the realm of social media discourse, that makes being chronically online a little less soul-crushing. The video essay, in a way, encourages us to engage in good faith with ideas that we might not typically entertain or think of ourselves. Video essays can’t solve the many problems of the internet (or the world, for that matter), but they can certainly make learning about them a little more bearable.

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Bo Burnham Is Everywhere. He’s Just Very Good at Pretending to Disappear.

He’s managed to turn his supposed absence into a performance, whether on “The Jerrod Carmichael Reality Show” or in your social media feed.

By Jason Zinoman

Early in his bold and vexing new reality show, Jerrod Carmichael hears a knock at the door and opens it to find a very tall man in a ski mask and goggles just standing there. He pauses to process, then concludes: “This makes sense.”

Most viewers probably thought: Really? But certain comedy fans would come to a different response: Welcome back, Bo Burnham.

Sure, we don’t know it’s him. On “ The Jerrod Carmichael Reality Show ” (HBO), this lanky masked man is referred to as Anonymous and his voice is disguised. But if this isn’t Bo Burnham, it’s a pretty good impression — or at least, one of him dressed to rob a bank.

Burnham has been conspicuously quiet since rocketing to superstar status by producing one of the signal works of art about the pandemic, the 2021 musical comedy “Inside.” He dropped out of a role in a TV series and appeared in no new specials, movies or live shows. Except for “Inside” outtakes, he hasn’t shown up in any new work — until, possibly, now.

Starring in three of the eight episodes, Anonymous comes off like a performance piece, half-abstraction and half-person, with no background, identity, face. He stands out more by revealing little, which is only one of the ways he’s in opposition to Carmichael, who is seen doing stand-up in short clips and having thorny, difficult conversations with his loved ones. Anonymous plays a crucial role, an exasperated ombudsman, picking apart the entire enterprise from the inside, providing a critique of its authenticity and the perils of performing for an audience.

These are hallmarks of Bo Burnham’s work dating at least to his far-too-overlooked MTV sitcom, “ Zach Stone Is Gonna Be Famous ,” a satire of reality shows.

One way to look at “The Jerrod Carmichael Reality Show” is as a counterpoint to the last decade of Burnham works, culminating with “Inside,” which portrays not just the isolation of lockdown, but also the corrosive impact of life in the public eye. Burnham was one of the earliest YouTube stars and later a trenchant critic of such fame.

In “Inside,” he watches one of his teenage videos, grim-faced. The special builds on the idea that performing can destroy your mental health, a point he most directly articulated in his previous Netflix hour, “Make Happy,” which ended with him leaving the stage and walking into the same room where “Inside” takes place. (In an apt coincidence, it happens to be the home where the original “Nightmare on Elm Street” was filmed). “I know very little about anything,” he says. “But what I do know is that if you can live your life without an audience, you should do it.”

CARMICHAEL HAD A DIFFERENT VIEW. The audience, as he sees it, gives him the courage to live more honestly. His comedy shifted course with his last special, “ Rothaniel ,” which, as it happens, was directed by Burnham. Carmichael came out of the closet publicly in that hour and told family secrets; now, in his reality show, he insists he needs the camera to have tough conversations.

This show features him examining deeply personal and uncomfortable subjects in every episode, whether it’s being a bad friend, cheating on his boyfriend or celebrating being cheated on in his own apartment. He confronts his parents about homophobia and infidelity. The episode in which he emotionally ambushes his father ends with the older man looking trapped and desperate to escape the view of the camera.

Most of the humor is cringe comedy, like explaining to his father the difference between daddies, bears and otters. This show can feel like a provocation, a dare to hate Carmichael, then love him and back again. Whereas Burnham suggests that the audience distorts reality, Carmichael says he needs it to tell the truth. He refuses to go anywhere without a camera crew no matter how much it frustrates his loved ones.

He’s been accused of exploiting private pain for entertainment , and there’s some validity to that. Is needing the camera so he can be honest a way to rationalize invading others’ privacy? He can seem like a bully, but there’s just enough tenderness in this portrait of everyone he trains his camera on (not to mention self-criticism) to complicate your reaction. The show wants to challenge and confuse and move its audience. Even in moments when he’s hard to take, I respect that he’s aiming for something other than Mid TV.

Burnham plays a valuable role here, standing in for the flummoxed audience. When he calls Carmichael an exhibitionist, the star responds, “What’s wrong with that?” Burnham comes back with: “There’s public and private and there’s masturbatory public.”

This is a harsh but accurate description of some of this reality show, but part of what it questions is whether all personal art taps into some voyeuristic pleasures, Burnham’s included. He’s been making this critique of the dangers of constantly performing for more than a decade. And while he skewers Carmichael for exposing himself, Burnham (or, OK, Anonymous) is participating, too, even if he acts disgusted by the whole thing.

As Burnham himself once said, “Self-awareness does not absolve anybody of anything.”

TO BE A LITTLE MORE CYNICAL, once you reach a certain level of fame and success, disappearing can be a smart career move. Quitting his show and going underground transformed Dave Chappelle from a popular comedian into a modern myth.

It’s harder to escape the public eye in the social media era. Burnham inspires an obsessive community of fans on Reddit and TikTok who analyze every scrap of information about him. If you’re paying close attention, he hasn’t vanished at all. He’s in your feed wearing a mask at the Emmys or walking with his girlfriend, Phoebe Bridgers. (Asked by a fan why he wore a mask to those awards, he said , “You’ll see”)

The only thing that abhors a vacuum more than nature is the celebrity press. Burnham not only knows this but exploits it.

Earlier this year, an old screen shot from his website circulated in which he predicted he would die on Jan. 17, 2024. An interview from many years ago in which he predicted the same thing went viral. As the day grew closer , his fan base became increasingly worried. Burnham erased most of his social media posts and replaced his avatar with a photo of the ocean, goosing the furor more.

This may be nothing, a prank or part of some future project (my money’s on a collaboration with Ari Aster or Nathan Fielder). But what’s clear is that while he has not appeared onstage in years, Burnham is still alert to his audience. He’s performing absence. His masked man is there but not all there.

Even in shows he’s not involved with, you see this tease. His friends help. A memorable episode of “The Bear,” created by Christopher Storer, who co-directed Burnham’s special “ Make Happy, ” followed the workers at a fancy Chicago restaurant. The patrons are supposed to include Burnham, and everything about the script creates expectations that he will show up. But he doesn’t. His absence stands out.

“Inside” ended with Burnham in a screening room, watching the show he’s in. The final episode of “The Jerrod Carmichael Reality Show,” which will be released Friday, takes a similar turn, but with Carmichael and Anonymous. The masked man tells Carmichael he wants no part of the series, and adds: “This is going to be viewed by the giant revolting mass of people that is argumentative, insane. That’s a scary collective for the most precious things in your life.”

This echoes what Burnham told me in a 2016 interview : He used to feel that talking about his relationship to the audience was indulgent, but he realized that when everyone has a camera in their pocket, the subject of how it feels to perform is more universally relatable. “To me, they’re a mob,” he said of the audience. “Intimidating, strange and creepy.”

I wonder if Carmichael now is more sympathetic to this point. He appeared on the “Breakfast Club” radio show and responded a bit defensively to criticism while pleading guilty to being an egomaniac.

All artists plumb their personal lives for public consumption. But there is no assurance such vulnerability will be well-received or understood, and assuming so is naïve. The audience likes what it likes — and hates a little bit of everything all of the time .

Bo Burnham understands this well, which is why the masked man might be a clever answer to an impossible question: Once you build a huge and loyal audience performing the damage done by performing for an audience, what’s next?

Jason Zinoman is a critic at large for the Culture section of The Times and writes a column about comedy. More about Jason Zinoman

Inside the World of Comedy

After he hit superstar status for his 2021 musical comedy, “Inside,” Bo Burnham has been conspicuously quiet. But he's managed to turn his supposed absence into a performance .

Netflix is giving comedy the live treatment . Sometimes that’s a good thing, as with John Mulaney’s variety show “Everybody’s in L.A.” But the Katt Williams special and Tom Brady roast were more uneven.

The White House Correspondents’ Association dinner has occasionally featured some great stand-up comedy. Colin Jost’s set will not join that list .

The pandemic dealt a major blow to improv in New York, but a new energy can be seen in performances throughout the city .

Comedians, no strangers to tackling difficult and taboo subjects with humor, are increasingly turning their attention to the climate crisis .

• International

May 19, 2024 helicopter crash involving Iranian president

By Antoinette Radford, Dakin Andone, Michelle Shen, Steve Almasy, Matt Meyer and Kathleen Magramo, CNN

Iranian media has confirmed the death of Iran's President Ebrahim Raisi. Our live coverage continues here .

President Raisi was likely traveling on a Bell 212 helicopter acquired before the Iranian Revolution, military expert says

From CNN's Rhea Mogul

Iranian President Ebrahim Raisi was likely traveling on a Bell 212 helicopter that began operating in the late 1960s, according to CNN military analyst Cedric Leighton.

Leighton told CNN's Paula Newton that the difficulty in obtaining spare parts could have played a factor in the crash.

The helicopter was first produced in the United States and then in Canada, Leighton, a retired US Air Force colonel, said.

“It was first introduced during the latter period of the Shah’s rule in 1976 in commercial form and it had a life before that in the US military, so the actual start of this particular type of helicopter may have been as early as the late 1960s,” Leighton said.

“So spare parts would have definitely been an issue for the Iranians.”

“In this particular case, I think this confluence of spare parts, because of the sanctions, plus the weather which was very bad over the last few days in this particular part of northwestern Iran. All of that, I think contributed to a series of incidents and a series of decisions that the pilot and possibly even the president himself made when it came to flying this aircraft… And unfortunately for them, the result is this crash.”

Drone footage shows wreckage of crashed helicopter

By CNN's Jerome Taylor

Iran’s president and foreign minister are presumed dead after Iranian media agencies reported that “no survivors” were found at the crash site of a helicopter carrying the two men and seven others.

Iran’s President Ebrahim Raisi and Foreign Minister Hossein Amir Abdollahian were among the senior officials on board the downed helicopter.

Drone footage of the wreckage taken by the Red Crescent and carried on state media FARS News Agency showed the crash site on a steep, wooded hillside, with little remaining of the helicopter beyond a blue and white tail.

No official announcement of their deaths has yet been made.

Reuters news agency also cited an unnamed Iranian official as saying all passengers are feared dead.

No signs of life from helicopter passengers, says head of Iranian Red Crescent

From CNN's Negar Mahmoodi 

There are no signs of life from those traveling on the helicopter that crashed in Iran's East Azerbaijan province, said Pir-Hossein Kolivand, head of the Iranian Red Crescent, according to Iranian state news IRIB.

Iran's President Ebrahim Raisi is believed dead after Iranian agencies reported that "no survivors" were found at the crash site of a helicopter carrying the leader, Foreign Minister Hossein Amir Abdollahian, and seven others.

BREAKING: "No survivors" found at crash site of helicopter carrying Iran's President Ebrahim Raisi, Iranian agencies report

From CNN's Artemis Moshtaghian 

"No survivors" were found at the crash site of the helicopter carrying Iran's President Ebrahim Raisi, Iranian state news agency IRINN and semi-official news agency Mehr News reported.

Some background: A former hardline judiciary chief, Raisi was Iran’s eighth president. The former prosecutor and judge was elected in 2021 following a historically uncompetitive presidential contest.

He oversaw a period of  intensified repression of dissent , according to human rights monitors.

Next in the line of succession would be First Vice President Mohammad Mokhber, if approved by Iran’s Supreme Leader Ayatollah Ali Khamenei.

Iran's Supreme Leader serves as the final arbiter of domestic and foreign affairs in the Islamic Republic, dwarfing the powers of the country's president.

Unlike his predecessor, the moderate former President Hassan Rouhani, Raisi had fostered a close alliance with Khamenei. Many Iranians believed Raisi was being groomed to one day succeed the ailing 85-year-old Khamenei.

CNN's Tamara Qiblawi contributed reporting to this post.

Rescuers have reached crash site of helicopter carrying Iran's President Ebrahim Raisi

From Negar Mahmoodi and Artemis Moshtaghian

Rescuers have reached the crash site of the helicopter carrying President Ebrahim Raisi, Iran’s semi-official Tasnim news agency.

The agency did not say the condition of those who were on board the helicopter.

At least 73 rescue teams are in the area of the helicopter crash near the village of Tavil in Iran's East Azerbaijan province, according to Pir-Hossein Kolivand, head of the Iranian Red Crescent, Tasnim reported.

Kolivand said the "the situation is not good," according to Iranian state news IRNA.

It's 6 a.m. in Tehran. Here's what we know

The crash site of the helicopter carrying Iran's President Ebrahim Raisi has been located, Iranian state news agency IRNA and semi-official news outlet ISNA reported on Monday. 

The helicopter crashed in a remote part of the country on Sunday.

As president of Iran, Raisi is the second most powerful individual in the Islamic Republic's political structure after Supreme Leader Ayatollah Ali Khamenei. He became president in a historically uncompetitive election in 2021, and he has overseen a period of intensified repression of dissent in a nation convulsed by youth-led protests against religious clerical rule.

The crash comes at a fraught moment in the Middle East, with war raging in Gaza and weeks after Iran launched a drone-and-missile attack on Israel in response to a deadly strike on its diplomatic compound in Damascus.

Here’s what to know:

• Others on board: Nine people were onboard the helicopter, including the country's foreign minister, and their status remains unknown as rescue operations continue through the early hours on Monday.
• Rescue: Rescuers are contending with dense fog and extreme cold in the country's remote East Azerbaijan Province. A Turkish drone had located a heat source but have not reached the crash site nor located the helicopter. Turkey and Russia have said they are sending aircraft to help in search operations.

BREAKING: Rescuers locate crash site of helicopter carrying Iran's President Ebrahim Raisi, state media says

 From CNN's Negar Mahmoodi and Artemis Moshtaghian 

The crash site of the helicopter carrying Iran's President Ebrahim Raisi and the country's foreign minister has been located, Iranian state news agency IRNA and semi-official news outlet ISNA reported on Monday. 

Rescuers are approaching the scene of the accident, ISNA said, citing Pir-Hossein Kolivand, head of the Iranian Red Crescent.

State media did not give the exact location of the site. 

More to follow.

Analysis: Helicopter crash comes at a fraught time for region — and Iran itself

From CNN's Jerome Taylor

The crash of a helicopter carrying Iran’s president and foreign minister comes at an especially fraught moment in the Middle East – and for Iran domestically.

Israel’s war against Hamas and the subsequent humanitarian catastrophe that has unfolded in Gaza over the last seven months has inflamed global opinion and sent tensions soaring across the Middle East. 

It has also brought a decades-long shadow war between Iran and Israel out into the open.

Last month Iran launched an unprecedented drone and missile attack on Israel — its first ever direct attack on the country — in response to a deadly apparent Israeli airstrike on Iran’s consulate in Damascus that killed a top commander in Iran’s elite Revolutionary Guards (IRGC). 

Israel struck back a week later , according to US officials, hitting targets outside the Iranian city of Isfahan with a much smaller, calibrated response. 

Since then the tit-for-tat direct strikes between the two have stopped. But the proxy war continues with Iran-backed militias such as Hamas and Hezbollah continuing to fight Israel’s forces.

Meanwhile, Iran’s hardline leadership has weathered an explosion of recent popular dissent on the streets at home where years of US-led sanctions have hit hard.

The country was convulsed by youth-led demonstrations against clerical rule and worsening economic conditions following the 2022 death of Mahsa Amini in the custody of Iran’s notorious morality police.

Iranian authorities have since launched a widening crackdown on dissent in response to the protests.

That crackdown has led to human rights violations, some of which amount to “crimes against humanity,” according to a United Nations report released in March.

And while the protests for now have largely stopped, opposition to clerical leadership remains deeply entrenched among many Iranians, especially the young, who yearn for reform, jobs and a move away from stifling religious rule.

A former hardline judiciary chief with his own brutal human rights record, Raisi was elected president in 2021 in a vote that was heavily engineered by the Islamic Republic’s political elite so that he would run virtually uncontested.

While he is president, his powers are dwarfed by those of Supreme Leader Ali Khamenei, who is the final arbiter of domestic and foreign affairs in the Islamic Republic.  

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