Mitchell demands political correctness in news media

 

News Corp demands totalitarian political correctness in new media
Peter Strempel, 28 October 2025

News Corporation propagandist Chris Mitchell preaches totalitarian political correctness in news media, possibly misunderstanding how much damage he does to the already tattered reputation of the News Corp Murdoch family fiefdom.

Chris Mitchell’s column in the Australian, demanding that even media not under the Murdoch family’s direct control adhere to a blinkered support of Israeli fascism, is an indicator of a far deeper totalitarianism in Australian media than we have already come to expect from News Corp’s deliberately socially and politically divisive culture wars polemics. On endless repeat.

He condemns Chris Hedges and AmyRemeikis as extremists, while patting the ABC’s David Marr on the head for toeing the politically correct Murdoch line on Israel and Gaza: Israel is always right, its critics are always wrong. Evidence and facts be damned.

The column amounts to: ‘How dare Chris Hedges offer a different perspective from ours! And how dare anyone working in media agree with him!! We will determine what is true, objective, and balanced!!! The rest of you either obey or we’ll call you activist lefties. So there.’ It is a childish tirade, and rather worn.

But it did reminded me of some commentary from Gideon Levy about what he calls deeply rooted Israeli values:

The first ... is the value that we are the chosen people. ... The implementation is very simple. If we are the chosen people, who are you to tell us what to do? ... Who is the international community to tell Israel what to do? International law, wonderful thing, it doesn’t apply on us. It applies on any other place on earth, but not on Israel because we are the chosen people. ...

The second very deep-rooted value is obviously the value of “we the victims,” not only the biggest victims, but the only victims around. I know many occupations which were longer than Israeli occupation somewhere, even more brutal even though it’s getting harder and harder to be more brutal than the Israeli occupation. I don’t recall one occupation in which the occupier presents himself as the victim, not only the victim, the only victim. … to quote here the late Golda Meir … she once said that we will never forgive the Arabs for forcing us to kill their children. We are the victims. We are forced to kill their children—poor us. As the victim and the only victim in history, again, it enabled us the rights to do whatever we want and nobody is going to tell us what to do because we are the only victims.

To this there’s a third very deep-rooted value, and this is the very deep belief. Again, everyone will deny it. But if you scratch under the skin of almost every Israeli, you’ll find it there. The Palestinians are not equal human beings like us. They are not like us. They don’t love their children like us. They don’t love life like us. They were born to kill. They are cruel. They are sadists. They have no values. No manners. Look how they kill us.

Who is Gideon Levy? He is an Israeli-born journalist working for the Israeli Haaretz newspaper. The quoted passages above are from a 2019 conference in the USA, but he’s repeated them since. What does all this mean? First, it means that any Jewish lobby group demanding that Israel not be criticized, ever, for any reason, has damaged itself much more than any pro-Palestinian propaganda ever could. Quite likely, Israel’s enemies counted on that outcome in anticipating from Jewish lobby groups globally a tired ideological extremism, tone-deaf to changed circumstances, and to international reactions to Israel’s brutal annihilation of Gaza and its population. Secondly, it means Chris Mitchell’s column is demanding surrender to a totalitarian ideology so odiously repressive that the existence or legitimacy of points of view like Levy’s are simply denied, and even much more moderate conceptions in Australia are to be seen as radical and censurable. That truly is totalitarian. Like Winston Smith working at eliminating any mention of events and people judged to be politically unpalatable by Big Brother and the party.

Oddly, Chris Hedges began the speech he was not permitted to give at the National Press Club of Australia earlier this month, possibly because all of its sponsors also make money from Israel, with a credible description of the practices of most contemporary ‘war correspondents’. That is, most of them sit in bars, drinking and screwing around, waiting for official briefings and announcements rather than going into the field and observing for themselves. In condemning that perspective alone, Chris Mitchell has explicitly stated that actual journalism—investigating a story independently by going into the field and observing—is not a permitted practice at News Corp, and should not be permissible elsewhere either. We should only ever repeat, and be exposed to, official narratives as approved by News Corp political commissars like himself. It is a bizarre demand, because it seeks that we re-make ourselves in the image of the nominal enemy. That we should become just like them. Adopt all their alleged barbarism, extremism, and totalitarianism. Mitchell should reflect on the fact that his intolerance means he is already one of them.

The problem appears to be that News Corp has gotten away with its totalitarian doctrine for so long that no one really remembers how it came about, and why it has destroyed journalism as we knew it before the 1990s. In 1986, Rupert Murdoch owned the Times, Sunday Times, The Sun, Today, and News of the World in the UK. He was a prominent supporter of Margaret Thatcher’s rebranding of F A Hayek’s neoliberalism, most conspicuously executed as enforced ‘austerity’ for the poor, and lavish favours for the rich. One of Thatcher’s most cherished projects was breaking the back of the British coal mining unions. And Murdoch was determined to do the same with the Fleet Street print unions. To that end he built a state-of-the-art facility at Wapping (Borough of Tower Hamlets, London) and locked out union demonstrators for the better part of a year to end the closed-shop power of the printing unions (closed shop means you cannot work if you are not a union member), reducing printing staff to about 700 instead of the almost 7000 under the Fleet Street model. The National Union of Journalists advised its members to join the picket lines, but enough of them did not, allowing Murdoch’s mastheads to continue being printed and distributed. The main printing unions were essentially bankrupted by legal processes arising from the strike, and became obsolete.

At the end of this confrontation, Murdoch was a Thatcherite hero. What came next was a much less public re-definition of journalism in News Corp: progressively subject to ever tighter ideological control, with editors and senior executives ensuring that people employed as journalists understood very clearly how every story was to be presented, meaning some stories about corruption in favoured governments or business circles would never be run, and others required that the ‘facts’ be massaged until they fit Murdoch’s own particular ideological preferences. This was Murdoch’s appropriation of Leninist-Stalinist political correctness, with his own preferred slant. And so it remains, with Chris Mitchell, today, being one of the (‘retired’) senior executives ‘supervising’ that political correctness, arrogantly presuming it to be the sole valid doctrine governing all media output labelled ‘journalism’, and not at all shy about lecturing any who won’t obey this totalitarian regime even if they don’t work for News Corp.

The problem has been that many people working in media were and continue to be intimidated by this conspicuous totalitarianism, moving the Overton Window in news media progressively towards the political far right. By all appearances, Nine Entertainment’s ‘news’ coverage today gets its cues about what to report, and how, from News Corp. Seven West Media has its own, more earthy version of that doctrine. Paramount Networks UK & Australia (Channel 10) is a pale imitation of Nine Entertainment. The ABC is so shell-shocked after being battered continuously by the long Abbott-Turnbull-Morrison Coalition it is too afraid of its own shadow these days to remember what journalism looks like at all. The Guardian and smaller independents may talk a good game, but have also been brow-beaten into the submission of coming to the party on stories about corruption in business and politics only after the damage has been done, and with only desultory attention to the stunning fact the ALP maintains some of the most corrosively punitive measures against the poor and powerless instigated by Murdoch and his Coalition parties, explicitly as punishment for the crime of poverty and political powerlessness.

So, when Mitchell rails against ‘activist’ journalists, he’s projecting his own tendencies. He demands total conformity with the Murdoch doctrine, or he’ll attempt to smear ‘dissidents’ as if they were activists, meaning of course radical left political actors, in the sense now being used in the USA to punish anyone who dares to question the king. This demand for Murdoch’s political correctness is actually what qualifies as the only radical activism in this story, even if it is far right activism. Mitchell condemns the heresy of anyone called a journalist to still conduct critical analysis. He calls that making ‘moral’ judgments. As if ethics were not an integral part of anything properly called journalism. And ethics are most definitely a part of critical analysis. You identify the key narratives being proposed as explanations for events and rhetorics, and then subject them to questions, including: which rhetorics correspond with known facts and which do not; what outright lies or distortions of facts (like conspiracy theories) are being peddled, by whom, and for what purpose; what are the likely self-serving or other motivations of the key rhetoricians; what is conspicuous by its absence in the rhetorics; what is the history of the controversy; and so on. If no ethical judgments are being formed in this process, it’s unlikely there was any analysis. The most informative journalism comes from people who reveal their own biases in the analysis, by making sources and evidence transparent. No unnamed sources, and explicitly revealed yardsticks where they are applied. Not the pretense that no human being touched the story.

The Murdoch doctrine on analysis has long been obvious: ‘Strengstens Verboten!’ at News Corp itself, whose employees must obey Murdoch doctrine. The word, like some others about good journalism, is reserved for hypocritical rhetorical polemics trashing enemies for not being ‘objective’ or ‘balanced’. Surprisingly easy arguments to make, with few targets denying the slander, possibly because you’d have to explain the dishonesty of the terminology itself. Within journalism, as in other disciplines, objectivity is a cheap lie. No human being is capable of it, and even saying you are objective is the subjective position that you are objective against a yardstick that can only have been subjectively designed. Here’s a simple test: for there to be objectivity, it needs to be an idealized, absolute standard, like the divine, or something similarly absolute and beyond or above the merely human. But such standards are only ever set by humans in the first place. And journalism is only ever practised by humans, meaning to be objective they would have to act as if they were themselves divine or more than human. It is an absurd proposition. Moreover, there isn’t a single ‘objective’ voice in News Corp itself. The bias is so obvious it isn’t seriously denied by anyone any more.

That leaves ‘balanced’. Nominally this is supposed to mean that you don’t favour one political side over others. At News Corp it has come to mean displacing any notion of credible voices by following the Steve Bannon strategy of flooding the media ‘zone’ with the ‘shit’ of rhetorics from lunatics, conspiracy theorists, and mentally ill people, while excluding unfavoured political views and acknowledged domain experts. To call such coverage ‘balanced’ is evidence of contempt for one’s audience, and leaves question marks about the mental health of the people confecting this kind of coverage and then calling it ‘balanced’. In reality, journalistic balance is the selection of credible sources, however many or few there might be, and to subject even them to analysis, all based on the professional practice of journalism, which must be independent from editorial control to be called journalism at all. Whenever it is not independent, it is actually just editorializing. And in a manner eminently suited to the completely dehumanized nature of AI verbiage. Along the lines News Corp uses to generate ‘local news’ pieces. If already there, why not also in national and state news and editorials? News Corp content is all quite repetitive and predictable. It could easily be generated from a trained engine citing a news feed for ‘facts’ and then applying and endlessly recycling the same rhetorics that might have been original in the 1990s. Who would notice the difference? Did Chris Mitchell actually write his own editorial, or did he just get paid to have his name put to some artificially generated gibberish that ‘sounds like him’?

At the end, then, can we recognize any journalism as it was practised in the 1980s in today’s media landscape? A valid topic for some postgraduate research. My gut feel is ‘no’. I trained and worked as a journalist, and I can see nothing of the fourth estate values in today’s media. It’s almost always politically partisan, and in some really dumb ways. By dumb, I mean both that people calling themselves journalists are mostly ignorant and lazy, and assume their audience is more ignorant, and lazier. But in that landscape, News Corp represents a fixed given: it repeats, endlessly, the limited, often contradictory words approved by Chairman Murdoch. And that makes News Corp content almost always unashamedly dishonest, serving only the interests of the Murdoch family.

Perhaps Chris Mitchell hasn’t realized it yet, but News Corp’s complicity in election lies in the USA, and the failed insurrection, and similar attempts in Australia, have severely damaged its credibility. So much so that when it takes a side in a political debate, it may actually encourage people to attach more credibility to the opposing voices. Reputation is a fickle thing. I’m pretty sure the Fox News MAGA pandering today will harm it tomorrow, when even the most die-hard MAGA voters come to realize everything is more expensive because their king lied to them, and did all his courtiers, including a compliant corporate media.

If Chris Mitchell were to reflect on this a little more carefully, he would recognize a similar moment has already occurred in Australia. All the best efforts of News Corp propagandists, including him, could not fend off the worst Coalition defeat in living memory. News Corp’s Coalition support was just not seen as credible by a large proportion of voters who would have preferred a Coalition government to a Labor win, if only they could have trusted its leadership and policies. Or News Corp’s misrepresentation of them.

And Mitchell should reflect, too, on the damage he’s doing to a reputation already in tatters when the much lauded Trump peace plan turns into just so much hot air, and Israel finally runs out of friends immune to the kind of public pressure that doesn’t come from a billionaire or a megacorp. 

[Image credit: Charlie Chaplin in The Great Dictator, sourced online without copyright statement limiting public use.] 

The Heidegger Pen

The Baoer 388.

Peter Strempel, 20 October 2025 

An ugly duckling of a fountain pen is currently a favourite of mine, for my vandalism of it. I admit to a fondness for fountain pens some friends have labelled fetishism.

I think it goes back to the later 1960s and early ‘70s, when I was a young boy at the Rudolf Steiner school in München, where my teachers tried to get me to write neatly, legibly, with a Tuschenfüller (fountain pen), and where I, being contrary, decided to use only felt tip and ballpoint pens, producing an atrociously unreadable script.

It wasn’t until I went to university, and received as an entrance gift, a reliable old Parker, that I came to appreciate the qualities of fountain pens as being aesthetic as much as utilitarian. And I have since then acquired maybe 20 other such pens.

What has this to do with Heidegger? I have recently been slogging through Martin Heidegger’s 1933-1935 lectures on ‘Being’ and ‘Truth’.1 ‘Why,’ I have been asked, ‘would you do that to yourself?’ For one, I don’t actually regard it as punishment so much as a more rewarding pursuit than, say, sport, or pop music. More importantly, though, I decided it was time to look at the source material for all the commentary I had read by others. So I would understand what the hell they all talking about as such length. And, as it turned out, it turned into an object lesson in itself. More on that later.

Heidegger talks about people being lost in their ‘everydayness’. Going about their business in the world without deeper thoughts about the essence of that world, or the essence of their own ‘being’. An ‘inauthentic’ state, as opposed to the ‘authentic’ state of deep and probing thought about the nature of personal and communal existence in a historical context, says Heidegger, in many more words, and probably much more depth of meaning than I can summon here.

To be fair, though, he also said that most of us live for most of our lives in the inauthentic state of ‘everydayness’, and even those who access authentic, deeper thoughts about the meaning of it all, also exist simultaneously in everydayness and inauthenticity.

I was in a decidedly inauthentic state on Friday night, with beers to keep me company. When I looked at my collection of fountain pens currently not in my rotation, meaning they were emptied, rinsed, and set aside from the eight or so pens I do use in a daily succession for notes in my longhand journal.

I came across my Chinese-made Baoer 388 online. A sleek-looking ‘knock-off’ of the Parker Sonnet series. I bought the Baoer for about $5. A ‘cheap’ Sonnet is about $200. But the black lacquer that made the Baoer seem so sleek had bubbled and peeled in places. Cheap manufacturing. One of the reasons the Parker is a much more expensive pen.

So, Friday night. Beers. Pen. I scraped the lacquer off the entire barrel, and then the cap. To reveal the barrel is brass, and the cap is made of steel. And, of course, that the ‘gold’ trim on my pen is not gold. Just a thin veneer of a goldy-coloured foil. The pen now looks quite scrappy. But also quite appealing in the integrity of its construction. Like ripping up a deep pile carpet to reveal beautiful, if scrappy looking hardwood floors beneath.

What has all this to do with Heidegger? Well, in his magnum opus Sein und Zeit (Being and Time) he talks about truth being the ‘unconcealment’ of what is always there to be seen. In his lectures on truth, he expands this to mean not the everyday meaning of truth, but the more profound truths to be seen in Plato’s allegory of the cave (The Republic, Book VII), where the ‘inmates’ of a cave prison are ‘forced to gaze on shadows created by artificial light and cast by artifacts paraded by unseen manipulators. Their conception of what exists and of what is worth having is so severely distorted and the deception by which they are victimized is so systematic that they cannot even recognize that they are confined, and would not regard an interruption in their routine ways of thought as a liberation.’2 When an escapee, being a philosopher, emerges into sunlight, he is exposed to reality as it is, but when he returns to free the others in the cave, to show them how they are deceived, they doubt him. (It strikes me that the term ‘enlightenment’ stems from this very allegory).

Heidegger spent a good bit of time and verbosity dissecting the allegory of the cave to talk about truth as always present but concealed. This isn’t truth in the sense of ‘she told the truth’ or ‘he told a lie’. It is a wider truth about the human condition, tied to the essence of human existence itself, which is always communal and specific to time and place, and is never transcended by proposed ideals above or outside that human existence, since all such proposals are made by people within their own existence in the first place.

This is where the pen comes in. Is the pen, stripped of the concealing lacquer, a more unconcealed, truthful representation of itself? Or does it go even deeper than that, into political economy? Do the Chinese demonstrate to us in manufacturing a cheap pen like this that the Western lionization of capitalism is an expensive and unnecessary lie? That capitalism, unlike the Chinese version of it, squeezes profits from workers and consumers with a use-value much lower than the purchase price of products?

You could go down that ‘unconcealment’ rabbit hole quite a ways. This is the useful part of Heidegger. He offers analytical tools. Ways of seeing things differently. The not so useful part is that he’s pompous and verbose. And that in his lectures on Being and Truth, he stooped to throwing in passages of Nazi cant so obviously crude and meaningless they completely contradicted his undoubted philological scholarship. That is to say Heidegger’s ideas can be politicized, but equally so by any and all ideological slants, and not without conspicuously clashing with the ideas arising from genuine philosophical analysis.

Look at it another way. When I look at my pen now, what I see is not at all what I thought I saw when I bought it. But the pen does what its purpose demands no matter what it looks like cosmetically. It is a thing-to-hand, as Heidegger wrote about tools and materials in a workshop (in various places in Being and Time), which have no particular meaning or essence until a worker comes to use them for a specific purpose, when they become tools designed for their use. But that use in itself is a human attribute of design and intention to reshape the world in some way. Not only would tools not exist if people did not make them, but their purpose, or essence, is not their own; it is human motivation. The human intention applies even when I use the pen for purposes not intended in its design or manufacture: to draw; to stab someone; to turn it into art; to use it as a lever in a tourniquet; and so on.

If I go too far into the Heideggerian rabbit hole, I come to the phrase in the Matrix film that ‘there is no spoon’. There is no pen, just my desire to record, in some way, my thoughts. Is that, then, the truth or essence of the pen? The human desire and ingenuity to communicate, using recording implements like pens. Or is that the truth of a human need and desire to communicate in a manner beyond the merely verbal and ephemeral?

I don’t really care too much for abstract ideas without direct usefulness in my ‘everydayness’, so I doubt I would contemplate all the possible abstractions too seriously. But I was struck by how much the pen, my transformation of it, and my use of it, reveals about the world I live in, and my own purposes within it.

It is a world which has metallurgy and plastics (the grip and ink feeding mechanism are not metal). A world that has advanced industrial manufacturing techniques to mass-produce the pen, and that has a political economy in which there is a mass demand for the pen, among many others. It is a world in which I know how to write, implying an education in at least grammar, if not also a variety of other subjects on which I write. A world in which I see value in writing. A world in which I have the aesthetic inclination to prefer fountain pens to other kinds of pen, and to at least split my written communication between the handwritten and the typed. A world in which I can have (afford?) more than one pen. And all of that, I reckon, makes up the usefulness of Heidegger’s concept of unconcealment with his wider conception of human existence as communal, specific to time and place, but with everydayness (me just using the pen to write) concealing the true nature of my ‘being of Being’.

It also helps to explain Heidegger’s influence on others. For example, his focus on human existence as prerequisite to all other ideas becomes Jean Paul Sartre’s existential catch-cry: ‘Existence precedes essence’. Althusser’s interpellation—people recognizing themselves as subjects of a controlling state—becomes an explanation of concealment. Derrida’s deconstruction becomes a method of unconcealment.

Earlier on I wrote about an object lesson. In this case a drunken piece of vandalism in scraping lacquer off a pen. If I had not been reading Heidegger for the day or so prior, would this have remained just a bit of mucking about?

In his lectures on truth, Heidegger’s examination of Plato’s allegory of the cave leads to a conclusion that it is philosophers who lead others to an unconcealment of truth. Did reading Heidegger drive me to quaff a few too many beers? Unlikely. I would have done so even without the reading matter. But reading Heidegger did lead me to contemplate a way of looking at things that exceeded the everyday ‘common sense’ interpretation of what I was doing: scraping away perished lacquer. Not working at unconcealment.

It might well be argued that Heidegger, long after his death, inspired me to see a bit more than just the everyday in my Friday night activity. In that sense, Heidegger wasn’t just boasting when he put himself forward as a philosopher like the one in Plato’s cave, leading people to (en)light(enment), even well after his death. Because he wrote it all down. So generations in his own future could read it. Probably using a fountain pen, too.

1Martin Heidegger (2010). Gregory Fried and Richard Polt, trans, Being and Truth. Indiana University Press.t

2David Ebrey and Richard Kraut, (2022). ‘Introduction to the Study of Plato’, in David Ebrey and Richard Kraut editors (2022). The Cambridge Companion to Plato, second edition. Cambridge University Press, pp 1—38 (p 19).

 

What makes a good fountain pen?

 

Anatomy of a fountain pen
The pen at the top of the image is shown 'posted', meaning the cap is on the end of the barrel.  
The pen shown is a Sailor, for which the nib and feed can be removed from the section.

 

Peter Strempel, 16 October 2025 

Fountain pens seem to be rather out of fashion today, as other kinds of pen are cheaper and thought more convenient. All the same, I prefer fountain pens to all other kinds for the aesthetic pleasure of using them. But that pleasure depends on a number of qualities all coming together: ink flow, nib width, section design, barrel width, and secure posting.

I prefer a generous ink flow from a medium tipped nib producing a line of between 0.5mm to 0.7mm. Nib size should be no difficult matter to change according to need for most pens, though some of the more expensive ones make it difficult by not permitting disassembly of nib and feed from the section, meaning they are manufactured as a single piece rather than allowing the nib to be pulled out, and the feed to be similarly pulled or unscrewed from the section.

A critical factor in smooth ink flow is the precision with which the diameter of the feed post, any section sleeve that the post may slide into, and the open tip of the ink cartridge or converter have been manufactured. If the fit is too tight, the cartridge or converter cannot ‘breathe’, and tend to hold the ink inside their container. If the fit is too loose, the ink leaks, when the pen is not in use, and may bleed into the paper like a blotch rather than a deliberate line.

Fountain pen feed
The feed of a fountain pen, typically below the nib, is important for good ink flow, 
especially in how well the post fits into the section sleeve, cartdrige, or converter.
 
Unexpectedly, cheap pens today can be manufactured quite well in this regard, and much more expensive ones can perform very poorly. This poor manufacture shows up in some converters for quite expensive pens never filling more than to half or two-thirds capacity. That need not be a disqualification. Converters can be replenished using a syringe filler.

I should specify now that may hands are not delicate, that I am right handed, and that I broke my right wrist decades ago requiring pieces of titanium to be inserted to connect the broken pieces back together. This last idiosyncrasy means I probably don’t have the same dexterity in my right hand that I used to, and that others take for granted.

Whether because of that, or not, I find pens with a pronounced lip or groove in the join between section and barrel uncomfortable to hold, because the lip digs into my middle finger. Visualize the right hand use of a pen: thumb to the left side of the section grip, index finger on the top and slightly to the right, and the middle finger below, as support. Most section grips are designed too low for my own comfort, so my middle finger mostly rests under the section-to-barrel join. When writing for longer than a minute or two, a pronounced lip or groove there digs into my middle finger uncomfortably.

Another preference is a design that is generous in the body width of the pen. Slimmer styling seems to favour more delicate hands than my own. Holding a slimmer pen tends to cramp my hand over time.

Still in terms of design is how well a pen ‘posts’ (not to be confused with the ‘post’ or needle on the section end of the feed). ‘Posting’ a pen is putting the cap of the pen on the end of the barrel. What matters is how well the cap fits onto the barrel while the pen is in use. A cap that falls off too easily is annoying. A cap that fits too tightly will damage the finish of the barrel’s end. The cap’s post should extend the pen’s length enough so it rests comfortably against the side of the index finger’s knuckle, where it begins to join the skin to the thumb. A fatter pen is less likely to move about at that resting point than a slim one.

When all of the above considerations come together well in a single pen, no matter whether it’s cheap or expensive, I would consider it a good one.