There is a lot to chew over in Ben Smith’s deep dive into The Washington Post, which — like news (and non-news) organizations everywhere — is struggling with issues of diversity. But let me keep the focus narrow here, because Smith leads with a blockbuster anecdote about something that unfolded during Brett Kavanaugh’s Supreme Court confirmation hearings in 2018. Smith writes in The New York Times:
Bob Woodward, the Post legend who protected the identity of his Watergate source, Deep Throat, for 30 years, was going to unmask one of his own confidential sources. He was, in particular, going to disclose that Judge Kavanaugh had been an anonymous source in his 1999 book “Shadow: Five Presidents and the Legacy of Watergate.”
Mr. Woodward was planning to expose Mr. Kavanaugh because the judge had publicly denied — in a huffy letter in 1999 to The Post — an account about Kenneth Starr’s investigation of President Bill Clinton that he had himself, confidentially, provided to Mr. Woodward for his book. (Mr. Kavanaugh served as a lawyer on Mr. Starr’s team.)
What Kavanaugh allegedly did pretty much defines one of the circumstances under which a reporter might consider exposing an anonymous source: he told the truth (apparently) to Woodward and then lied about it in public. And the stakes were high, as Woodward’s story, if published, could have presented yet another obstacle to Kavanaugh’s confirmation.
But executive editor Marty Baron intervened, according to Smith: “Mr. Baron and other editors persuaded Mr. Woodward that it would be bad for The Post and ‘bad for Bob’ to disclose a source, one of the journalists told me. The piece never ran.”
Among those siding with Baron is Matt Storin, his predecessor as editor of The Boston Globe, where Baron served for nearly more than a decade before moving to the Post. “I’m not in a position to render judgment on a lot of this piece, but @PostBaron absolutely did the right thing on the Woodward issue, supporting any reporter in the future who needs an anonymous source,” Storin tweeted.
I'm not in a position to render judgment on a lot of this piece, but @PostBaron absolutely did the right thing on the Woodward issue, supporting any reporter in the future who needs an anonymous source. https://t.co/2vTHziEbS9
I agree with Storin — and, thus, with Baron. Unless Woodward promised Kavanaugh he’d keep his identity confidential only if he subsequently told the truth in public about their exchange, then Woodward had no business breaking their agreement. It’s a tough call, and the fact that someone of Woodward’s stature wanted to go the other way shows that good people can differ on this. But Woodward, pressured by Baron, ultimately did the right thing.
It’s not like Kavanaugh is the first source to tell a reporter one thing in confidence and then say something else publicly. It’s happened to me, and I’m sure most reporters would tell you the same thing. But that’s one of the risks you take when grant anonymity to someone.
At least at the moment, I have little to add to the story of James Bennet’s departure as editorial-page editor of The New York Times beyond what Ben Smith of the Times, Tom Jones of the Poynter Institute and Jon Allsop of the Columbia Journalism Review have written, and what I wrote last week.
As Smith, Jones and Allsop point out, Bennet’s misguided decision to run Sen. Tom Cotton’s ugly commentary advocating violence against protesters should be seen as part of a larger story that encompasses Wesley Lowery’s unfortunate experience at The Washington Post, the resignation of Philadelphia Inquirer executive editor Stan Wischnowski over his paper’s horrendous “Buildings Matter, Too” headline, and the right-wing Pittsburgh Post-Gazette’s meltdown over Alexis Johnson, a Black reporter whom they claimed couldn’t be trusted to cover Black Lives Matter protests because of an innocuous tweet she had posted.
Because of the Times’ central place in our media culture, Bennet’s departure is the big story. As the coverage makes clear, Bennet lurched from one misstep to another during his time as editorial-page editor, so it would be a mistake to attribute his departure solely to the Cotton op-ed. I don’t think he ever fully recovered from his mishandling of a Bret Stephens column in which Stephens came very close to endorsing a genetic basis for intelligence.
Bennet will be replaced through the election on an interim basis by deputy editorial-page editor Katie Kingsbury, who won a Pulitzer when she was at The Boston Globe. Kingsbury is terrific, and I hope she’s given a chance to earn the job.
Finally, a semi-related incident involving the Globe. You may have seen this on the front of Sunday’s print edition:
There’s no question that the cover, which you can see here, would have been considered entirely inoffensive before a police officer killed George Floyd. Even now I’m not sure how many readers would have been outraged. Still, I think the Globe made the right call. An abundance of caution and sensitivity is what’s needed at the moment.
Have the media engaged in false equivalence when it comes to political lying? Do fact-checkers nitpick statements by Democrats in order to seem fair and balanced when they go after President Trump’s numerous and blatant falsehoods?
That proposition might seem ludicrous. After all, The Washington Post last month announced that Trump had mademore than 12,000 false or misleading statements since his inauguration in 2017. Daniel Dale of CNN tracks every Trumpian falsehood — writing, for example, that the president“made at least 26 false claims” at a rally in New Mexico on Monday. PolitiFact has rated fully 69 percent of Trump’s public utterances asfalse to some degree, and 14 percent as being so at odds with reality that they have earned the coveted “Pants on Fire” rating.
And that’s just the tip of the journalistic iceberg. Indeed, if the media have told us anything about Trump over these past few years, it’s that he spews lies so freely that his every word and every tweet is suspect. So what do Democrats have to complain about?
This: Despite the media’s admirably tough-minded stance on Trump’s falsehoods, they are nevertheless holding Democrats to a much higher standard. Most politicians exaggerate, butcher the facts or shade the truth, and journalists should take note when they do. But the press should also be careful to point out the difference between standard-issue rhetorical excesses and the sort of gaslighting that Trump engages in on a daily basis.
Last week Michael Calderone of Politico wrote an important story about Democratic complaints regarding the fact-checkers’ embrace of false equivalence. He began with the example of Bernie Sanders’ claim that “500,000 Americans will go bankrupt this year from medical bills.” The Washington Post’s Fact Checker column awarded three Pinocchios (out of a possible four) to Sanders — not because he was completely wrong, but because medical bills were only one factor in those 500,000 bankruptcies. Meanwhile, Calderone noted, the Post also gave Trump three Pinocchios for claiming that large swaths of his border wall have been already built when, in fact, none of it has.
The Sanders example is a matter of factual interpretation. The Trump example is somewhere between a hallucination and a lie. Yet they each got the same rating. How can this be?
One explanation is that journalism, steeped as it is in notions of fairness and balance, is unequipped for the extraordinary challenge of the Trump era. Calderone offered several other instances of Democrats’ words being parsed for shades of nuance so that they could be labeled as lies. He also wrote that “several prominent fact checkers said they don’t believe their job has changed when it comes to holding politicians accountable for their words on the stump and in TV studios, despite Trump’s persistence falsehoods.” And he quoted PolitiFact editor Angie Drobnic Holan as saying, “Two wrongs don’t make a right.” OK. But everything is not the same.
Consider an example that Calderone didn’t cite: Joe Biden’s recent mixing up of three separate stories about honoring a heroic soldier who had tried to save a comrade in Afghanistan. Yes, Biden botched it pretty badly, but the essential truth of what he was trying to say came through. Yet The Washington Post headlined it, “As he campaigns for president, Joe Biden tells a moving but false war story.” False? Not really. More like Biden being Biden, lacking the discipline to master the details and not understanding why it matters.
Or how about two years of obsessing over Hillary Clinton’s private email server while the news that Trump uses an unsecured cell phone, reported last October in The New York Times, got about two minutes’ worth of attention — even though Chinese and Russian spies were reportedly listening in on Trump’s calls.
Those last examples aren’t about lies and fact-checking. But all of this is grounded in a larger, more enduring issue — accusations of liberal bias on the part of conservatives, and the duck-and-cover response from too many journalists whose politics may indeed be liberal but who bend over backwards to torment liberal politicians. Eric Alterman, in his 2003 book, “What Liberal Media?,” called it “working the refs,” and it goes back at least to Spiro Agnew’s famous nattering nabobs of negativism speech of 1970.
In 2012 — a more innocent time — I wrote in The Huffington Post that one of the big problems with fact-checking was that politicians’ false or partly false statements were rarely full-blown lies, but that ratings like Pinocchios or “Pants on Fire” suggested that every falsehood was a lie. “The fact-checkers are shifting from judging facts to indulging in opinion, but they’re not necessarily doing it because they want to,” I wrote. “They’re doing it because politicians don’t flat-out lie as frequently as we might suppose.” Now we have a president who lies so promiscuously that the fact-checkers seek out minor factual discrepancies among Democrats so it won’t seem like they’re picking on Trump.
“Indiscriminate criticism has the effect of blurring important distinctions,” Patterson wrote. “Were the allegations surrounding Clinton of the same order of magnitude as those surrounding Trump? It’s a question that journalists made no serious effort to answer during the 2016 campaign. They reported all the ugly stuff they could find, and left it to the voters to decide what to make of it.”
Now we are moving into yet another presidential election season. The problem for 2020, as it was for 2016, isn’t that the media won’t report negative information about Trump. It’s that they will report negative information about his opponents in such a way that it all looks the same. In that respect, Democratic complaints about fact-checking that may seem trivial are actually emblematic of a much deeper problem with journalism: the primal urge to treat both sides equally, to be seen as fair, to avoid accusations of liberal bias.
It’s going to be an ugly, brutal campaign, and Trump’s going to drive the agenda once again. Are the media up to the challenge? The evidence suggests that the answer to that question is no.
Big changes are coming for Boston Globe digital subscribers, not to mention staff members. Over the next few weeks, visitors to BostonGlobe.com will be driven to Arc, the paper’s new content-management system, according to an email to the staff from senior product manager Eric Westby. The email was passed along by a trusted source who asked to remain anonymous.
The Globe is licensing Arc from The Washington Post, where the CMS was developed. As a Globe subscriber, I’m hoping for a consistent user experience across all platforms, web, tablet and phone, as is the case with washingtonpost.com and its “classic” (black) apps. The Globe unveiled an Arc-based mobile app last fall, but it remains underdeveloped. Among other things, you still can’t swipe horizontally through articles on the iOS version. (I’m told that you can if you’re an Android user.)
The final steps toward adopting Arc come at the same time that the Globe is making a digital push into Rhode Island, hiring three veteran reporters (so far) at a time when The Providence Journal is being decimated by GateHouse Media, its corporate chain owner. Improved digital platforms should help with that push — but only if the Globe really commits to getting Arc right.
The full text of Westby’s email follows.
A quick update on the upcoming Arc CMS launch. We’re happy to report that our Arc beta test has been a success, and we’ll be ending the test and moving BostonGlobe.com visitors to an Arc-driven site beginning April 22. Our plan is to transition the bulk of our traffic from Méthode to Arc gradually over the course of that week. Visitors will be randomly assigned to the Arc group in stages, with all traffic driven to Arc by Friday, April 26. Two things to note:
The plan is for the redesigned Globe.com homepage and the sports section front to follow one week later, in order to mitigate any potential workflow or technical issues at launch. Our current plan is to move these two critical pages from Méthode to Arc on or about May 1.
With this launch, we will have effectively moved BostonGlobe.com to a sleeker, more modern, and more flexible design, one that’s built for our future and run with the best system in its class. You’ll still notice an odd page here and there in the old site layout: Today’s Paper, Crosswords, Author pages, etc. We will be transitioning these pages one at a time in the weeks ahead, both to account for variables with the coding and to ensure our readers don’t lose any functionality during this important transition.
Articles will continue to be written and edited in Méthode for now, with the move to Ellipsis (Arc’s article authoring tool) soon to follow. This rollout will be a phased approach that will require training and careful planning. You’ll be receiving more information on the Ellipsis rollout soon.
There will no doubt be bugs to squash, but this launch will mark a major milestone in our Arc rollout.
All the best,
Senior Product Manager, BostonGlobe.com
This seems rather prescient given the events of the past few days. Here’s what Jeff Bezos told Washington Post staffers in 2013, shortly after it was announced he’d buy the paper. From “The Return of the Moguls”:
In his message to Washington Post staff members the day that the purchase was announced, Bezos alluded to an infamous moment during Watergate when Nixon henchman John Mitchell barked at Bernstein that “Katie Graham’s gonna get her tit caught in a big fat wringer” if a particularly damaging story were published. Bezos wrote, “While I hope no one ever threatens to put one of my body parts through a wringer, if they do, thanks to Mrs. Graham’s example, I’ll be ready.” As we shall see, it was not long before Bezos would be put to the test.
The first quote is from Katharine Graham’s autobiography, “Personal History”; the second is from a Post account of the sale.
It’s easy to imagine how Jill Abramson’s new book might have turned out differently. In “Merchants of Truth: The Business of News and the Fight for Facts,” the veteran journalist follows the fortunes of four media organizations. BuzzFeed and Vice are young, energetic, willing to break rules and try new things. The New York Times and The Washington Post are stodgy, sclerotic giants trying to grope their way toward a digital future. We all know how that’s going to turn out. Right?
Well, something unexpected happened on the way to the old-media boneyard. Within the past couple of years BuzzFeed and Vice, which had made strides toward becoming major players, fell short of revenue projections and had to cut back on their ambitions. This was owing partly to hubris, partly because Google and Facebook were hoovering up every digital advertising dollar in sight.
Meanwhile the Times and the Post — the latter supercharged by its mega-wealthy owner, Amazon founder Jeff Bezos — moved toward economic viability by rethinking coverage and convincing a generation of readers brought up on free online content that quality news was worth paying for, particularly in the age of Trump.
Abramson, a former executive editor of the Times who now teaches at Harvard, has written a big, ambitious chronicle of the past decade. Her method involves a series of revolving chapters that examine the ups and downs of each organization in turn, as well as a chapter on Facebook. (Disclosure: In her bibliography Abramson cites two of my books and an academic paper I wrote.)
Some have criticized Abramson for favoring the legacy newspapers over the digital start-ups. There may be something to that. She goes into great detail about BuzzFeed founder Jonah Peretti’s research-driven pursuit of clicks and viral content and about Vice’s culture of alcohol, drugs, and sexual harassment. Vice founder Shane Smith comes off as a shambling egomaniac, although later in the book he is depicted as trying to clean up his act.
But those sections strike me as warranted and fair. After all, BuzzFeed was built on a foundation of cat videos and listicles, and Vice’s chaotic, testosterone-fueled internal culture is surely relevant. Besides, Abramson is generous in acknowledging the importance of their best journalism, including Craig Silverman’s groundbreaking work for BuzzFeed on fake news and Elle Reeve’s mini-documentary for Vice about the deadly neo-Nazi protests in Charlottesville, Va.
The chapters on the Times and the Post cover ground that will be familiar to many media observers. Abramson traces the Post’s decline during the last few years of Graham family stewardship and its revival under Bezos. The Times’s journey was more harrowing — bailed out by the Mexican billionaire Carlos Slim, forced to sell its gleaming new headquarters, and casting off its non-Times properties, including The Boston Globe. Abramson criticizes both newspapers for smudging the line that had traditionally separated news from business operations, a line that she observes doesn’t even exist at BuzzFeed or Vice. Mostly, though, she praises the Times’s and the Post’s reinvention efforts.
In the most awkward section of the book, Abramson deals with her 2014 firing as executive editor of the Times. She uses the occasion to do some score-settling against the then-publisher, Arthur Sulzberger Jr., and her successor, Dean Baquet. But her account strikes me as fundamentally honest and reflective, as she blames her demise on a combination of sexism and her own shortcomings as a manager.
“Merchants of Truth’’ spawned controversy even before the book was published.
First, Howard Kurtz of Fox News reported that Abramson had criticized the Times for liberal bias. And yes, Abramson writes, “Given its mostly liberal audience, there was an implicit financial reward for the Times in running lots of Trump stories, almost all of them negative.” But it’s not quite that simple. For instance, she lauds both the Times’s and the Post’s tough coverage of the Trump administration, reserving especially fulsome praise for her former employer: “The depth and intensity of the coverage was masterful. On most days it outshone the Post’s. The news report as a whole had never been stronger.” By leaving out that context, Kurtz created a misleading impression.
More problematic were revelations of errors in the uncorrected galleys. Vice reporter Arielle Duhaime-Ross complained that Abramson had made multiple mistakes about her, including her gender identity. Danny Gold of the “PBS NewsHour” tweeted that Abramson’s description of his past reporting for Vice about Ebola in Liberia included “a straight up lie.” Errors in galleys are common, but they generally involve typos and spelling mistakes. And not all of the problems were addressed in the final version of the book.
Inaccuracies notwithstanding, “Merchants of Truth” is a valuable and insightful survey. It ends on an optimistic note, with one caveat: Abramson acknowledges that the relative good fortune of the four media organizations she profiles stands in contrast to the implosion of journalism at the local level. The media scene Abramson describes remains in turmoil. Witness the deep cuts at BuzzFeed that took place late last month. Whether journalism will outlive the wobbling vessels in which it is carried remains a fundamental question for the future of democracy.
A couple of good-news items from The Boston Globe.
First, the paper is reporting that it has passed the 100,000 level for digital-only subscriptions, a benchmark the paper’s executives had originally hoped to reach by the end of June. Don Seiffert of the Boston Business Journal has the details.
When I interviewed Globe editor Brian McGrory for “The Return of the Moguls” nearly two years ago, he said the paper would start to look like a sustainable business if it could hit 200,000. My mother always told me that the first 100,000 is the hardest. But the Globe’s digital presence is in the midst of getting an upgrade as it adopts The Washington Post’s Arc content-management system this fall. If the Arc transition goes smoothly, then perhaps another circulation boost will follow.
Second, the Globe is announcing today that it has finally replaced Pulitzer Prize-winning art critic Sebastian Smee, who left for the Post nearly a year ago. The Globe’s new critic is Murray Whyte, currently at The Star of Toronto, whose arrival in Boston, I’m told, was delayed because of immigration issues.
In an email to the Globe’s staff, deputy managing editor for arts and newsroom innovation Janice Page and arts editor Rebecca Ostriker call Whyte “a truly extraordinary writer” who “brings a unique combination of keen insight, wide-ranging expertise, superb judgment, and an ability to recognize and write about what really matters.” The full text of their message follows.
We are delighted to announce that Murray Whyte is joining the Globe as art critic, starting next month.
Murray was born in Winnipeg and grew up partly in Calgary, and he will completely understand if you have no idea where those places are (directly north — way north — of Minnesota and Montana, respectively). He’s spent the better part of two decades in Toronto, and the last 10 of those as the art critic at the Toronto Star, Canada’s largest daily newspaper, where he is a recent winner of Canada’s National Newspaper Award, the country’s highest journalistic honor.
As Globe readers will soon learn, Murray is a truly extraordinary writer. He brings a unique combination of keen insight, wide-ranging expertise, superb judgment, and an ability to recognize and write about what really matters. He does not focus on art for art’s sake, but rather connects art to what can make a difference to people living in the world — to society, to ideas, to our culture as a whole.
Murray’s eclectic background also extends beyond arts journalism, including a stint as a producer with the Canadian Broadcasting Corporation. In fact, he may be the only journalist in North America who has reported from the oil sands in northern Alberta and Uranium City in Saskatchewan as well as the Venice Biennale.
But the visual arts have always been in his bones. As a journalism graduate student at New York University, his refuge was the Museum of Modern Art, where he could exult in the stillness of Mark Rothko or the luminescence of Claude Monet. Art museums, he says, are his version of a walk in the woods — a rejuvenating, almost transcendent communion with the sublime.
He’s also a huge hockey fan — another kind of sublime — and would appreciate any spare tickets when the Calgary Flames come to town, because surely, he says, there can’t be anyone else here as interested in the progress of Dillon Dube on left wing this year. Can there?
Murray will be making his home in the Boston area with his wife, photographer Sian Richards, and their two children. He’ll arrive at the Globe in mid-November. Please join us in giving him a very warm welcome.
Following a soft launch, The Boston Globe today is going public with its new app for tablets and phones, powered by Arc, The Washington Post’s content-management system. I’ve been playing with it since Tuesday, and I have a few very preliminary observations.
— It’s fast and attractive in a Post kind of way. The icon for the app is a white “B” on a black background, and the look and feel are similar to the Post’s black app. Stories load quickly, pictures are big and the type size can be easily adjusted.
— The organizational scheme is intuitive and makes sense. Across the top is a navigation bar that lets you choose from among Top Stories, Sports, Metro and the like. One of the choices is Marijuana, a hint of the paper’s expanded coverage of all things pot that is said to be in the works. Click on “Sections” at the bottom and you can drill down to more specific coverage. Again, this will be familiar to Post readers.
— Unlike virtually any news app I’ve ever used, you can’t swipe from one story to the next. Instead, you have to click the back arrow to return to whatever section you’re browsing. Stories load quickly enough that this amounts to a minor annoyance, not a major one. But it needs to be fixed.
— Stories appear in seemingly random order, even in the Top Stories section. As I scroll through the section right now, I see a few news stories followed by some sports, then back to news, then some more sports. The Top Stories sections of the best newspaper apps — those offered by the Post and The New York Times — are divided into sections and have a curated feel to them. The Globe needs to do better.
— As with the Post, there is no Today’s Paper listing of stories. That’s actually one of my favorite features of the Times’ app, since I might read a few stories on my way to work and then pick it up later during the day. A newspaper as a fixed record of the day’s most important events may seem old-school, but stories you might want to read tend to disappear from continuously updated apps. There’s a Today’s Paper listing at the Globe’s website, which works fine on a phone, even if it’s slow. I’d like to see that migrate to the app as well.
Based on first impressions, I’d give the Globe’s app a “B.” Given that the Globe’s owners, John and Linda Henry, have bet the farm on selling pricey digital subscriptions (currently just shy of 100,000), the tech side ought to keep working and get it into the “A” range. There’s a lot to like, a few things that need to be improved and one shortcoming — the inability to swipe from story to story — that is just plain unacceptable.
Update: A Facebook commenter says that you can swipe with the Android version. I’m an iOS user. But that suggests the problem won’t be too difficult to fix.
If you care to read one more example of President Trump’s fundamentally corrupt way of looking at the world, I recommend Jon Lee Anderson’s profile of the former ambassador to Panama, John Feeley, which appears in the current New Yorker. Anderson begins with a shocking anecdote — or, rather, an anecdote that would be shocking if we had not long since gone numb. Feeley was sitting outside the Oval Office in June 2017, waiting for a meeting with Trump. He heard the president drop an F-bomb in the midst of a tirade, then was led in. Vice President Mike Pence and future chief of staff John Kelly were with the president. Anderson continues:
As he took a seat, Trump asked, “So tell me — what do we get from Panama? What’s in it for us?” Feeley presented a litany of benefits: help with counter-narcotics work and migration control, commercial efforts linked to the Panama Canal, a close relationship with the current President, Juan Carlos Varela. When he finished, Trump chuckled and said, “Who knew?” He then turned the conversation to the Trump International Hotel and Tower, in Panama City. “How about the hotel?” he said. “We still have the tallest building on the skyline down there?”
I offer this to illuminate a different story — one that was nearly overlooked last weekend amid an unusually weird and disturbing outburst of Trumpian mishegas. Last Friday, The Washington Post reported that Trump had been pressuring Postmaster General Megan Brennan to double the postal rates paid by the retail giant Amazon to deliver its packages. According to the Post’s Damian Paletta and Josh Dawsey, Brennan has pushed back repeatedly, even showing the president slides to demonstrate that the Postal Service’s arrangement with Amazon and several other companies is a plus for the money-losing agency.
But Trump would not be appeased, and the reason seems obvious: The Post is owned by Jeff Bezos, the founder and chief executive of Amazon. And Trump — motivated, as always, by his personal need to assert dominance over anyone he perceives as an enemy — wants to punish the Post for its tough coverage of his campaign and his presidency. As an unnamed “Republican close to the White House” recently told Gabriel Sherman of Vanity Fair: “Trump doesn’t like The New York Times, but he reveres it because it’s his hometown paper. The Washington Post, he has zero respect for.” Sherman reported that the people around Trump have been plotting other actions against Bezos as well — such as canceling a contract for Amazon to supply cloud computing services to the Pentagon and mobilizing Republican state attorneys general to investigate Amazon’s business practices.
All of this is, needless to say, deeply transgressive. If a Democratic president acted like this, the Republican majority in Congress would be calling for hearings, and whispers of impeachment would be in the air. And if this were an isolated instance, it would be a major news story for many days, if not weeks. But because Trump lurches from one outrage to another, often over the span of a few hours, the latest eruption in his ongoing war against the Post has been all but drowned out.
Take, for instance, Trump’s latest obsession: demanding information on the FBI’s investigation into his campaign’s contacts with Russia. His improper interference in an investigation of himself (you could call it obstruction of justice, in the lay sense if not necessarily the legal sense) has already resulted in the outing a confidential informant, possibly at some risk to his life, and to Deputy Attorney General Rod Rosenstein’s twisting himself into a pretzel to avoid resigning and thus to keep special counsel Robert Mueller’s investigation on track. “It’s an incredible historical moment,” Rebecca Roiphe, a professor at New York Law School, told Charlie Savage of The New York Times. She added that Trump’s latest action was “the culmination of a lot of moments in which he has chipped away at prosecutorial independence, but this is a direct assault.”
Or consider a Washington Post column by Max Boot, a leading anti-Trump conservative, who attempted on Monday to document the political norms Trump had violated in just the previous week. It’s a breathtaking list, ranging from Trump’s lifting of sanctions against the Chinese cellphone firm ZTE right after China provided a $500 million loan for a Trump business venture in Indonesia to a Times report that the Trump campaign was offered help by the governments of Saudi Arabia and the United Arab Emirates.
“Trump’s assault on democratic norms is all the more dangerous because the response is so tepid,” Boot wrote. “Republicans approve of, or pretend not to notice, his flagrant misconduct, while Democrats are inured to it. The sheer number of outrages makes it hard to give each one the attention it deserves.”
Perhaps the best way of looking at all of these incidents was expressed by Adam Serwer in The Atlantic. Rather than multiple Trump scandals, Serwer wrote, there is really just one mega-scandal: “the corruption of the American government by the president and his associates, who are using their official power for personal and financial gain rather than for the welfare of the American people, and their attempts to shield that corruption from political consequences, public scrutiny, or legal accountability.”
That strikes me as a good way of thinking about Trump’s assault on the media in general and The Washington Post in particular. He has no respect for the First Amendment or for the role of a free press in a democratic society. It’s all about his needs and wants, and nothing else matters.
Sexual harassment and The Boston Globe
In case you missed it, Emily Rooney, Adam Reilly, and I discussed on “Greater Boston” Tuesday an accusation that Boston Globe editor Brian McGrory sexually harassed Hilary Sargent, a former top editor at the Globe’s free Boston.com website. On Monday, Sargent tweeted out a copy of an inappropriate text she said McGrory had sent her. You can watch our discussion and read Emily’s synopsis by clicking here.