Reuters editor-in-chief Steve Adler wrote a message to staff called “Covering Trump the Reuters Way.” After noting that “Reuters is a global news organization that reports independently and fairly in more than 100 countries, including many in which the media is unwelcome and frequently under attack,” he lays down some do’s and do-not-do’s1:
—Cover what matters in people’s lives and provide them the facts they need to make better decisions.
—Become ever-more resourceful: If one door to information closes, open another one.
—Give up on hand-outs and worry less about official access. They were never all that valuable anyway. Our coverage of Iran has been outstanding, and we have virtually no official access. What we have are sources.
—Get out into the country and learn more about how people live, what they think, what helps and hurts them, and how the government and its actions appear to them, not to us.
—Keep the Thomson Reuters Trust Principles close at hand, remembering that “the integrity, independence and freedom from bias of Reuters shall at all times be fully preserved.”
—Never be intimidated, but:
—Don’t pick unnecessary fights or make the story about us. We may care about the inside baseball but the public generally doesn’t and might not be on our side even if it did.
—Don’t vent publicly about what might be understandable day-to-day frustration. In countless other countries, we keep our own counsel so we can do our reporting without being suspected of personal animus. We need to do that in the U.S., too.
—Don’t take too dark a view of the reporting environment: It’s an opportunity for us to practice the skills we’ve learned in much tougher places around the world and to lead by example - and therefore to provide the freshest, most useful, and most illuminating information and insight of any news organization anywhere.
These are good rules. (That one about giving up on access and hand-outs is downright fire.) They’re particularly good rules for a place like Reuters, that has a specific style, tradition, and role in the news ecosystem.
But they’re not necessarily good rules for everybody. Different news organizations are going to need to fill different roles in the ecosystem, different spaces on the multiple axes of personal, political, intellectual, and business commitments. If Gawker were still here in its full glory, Nick Denton could write up “Covering Trump the Gawker Way” and it would probably be a totally different but equally valuable list of guidelines.
The other thing news organizations (and other companies too) will need to figure out in L’Age D’Trump are their commitments to their staff. Reporters and media organizations need legal protections so they can’t be prosecuted as criminals or sued by proxy billionaires for doing their job; but they also need to be able to talk freely about how to do their job and balance all of those commitments for themselves without being shown the door.
The pressure is going to be coming from a lot of directions, not always the obvious ones. When the stakes are this high, and the conditions this uncertain, it helps to allay as many uncertainties as possible. When the shit goes down, you need to know who’s going to have your back.
It’s the 70th anniversary of Orson Welles’s masterpiece Citizen Kane:
Audacity and genius his trademark, and with a third medium to conquer and transform, Welles didn’t think small. With the Mercury players in tow, he enlisted veteran satirist and screenwriter Herman Mankiewicz. Together they crafted a story that began with the death of an enigmatic protagonist, and explored his life through flashbacks told from multiple points of view. As questions are answered, questions are raised. The script ultimately compares a man’s life to a jigsaw puzzle missing pieces, and thus impossible to solve. The writers very loosely based the title character of Charles Foster Kane on William Randolph Hearst, thus incurring the newspaper titan’s wrath. Welles, Mercury, RKO, and the studio heads endured journalistic scandalmongering, and the film eventually earned a blacklist. Welles would later remark, “If Hearst isn’t rightfully careful, I’m going to make a film that’s really based on his life.”
By coincidence, as related by Welles in his autobiography, he once found himself alone in an elevator with Hearst. It was the night of Citizen Kane’s San Francisco premiere, and Welles invited him to the opening. “He didn’t answer. And as he was getting off at his floor, I said, ‘Charles Foster Kane would have accepted.’”
Everybody talks about the movie’s formal innovations, but I wish the content would get more love. As A.O. Scott says, “Citizen Kane shows Welles to be a master of genre. It’s a newspaper comedy, a domestic melodrama, a gothic romance, and a historical epic.” Pauline Kael said Kane was “more fun than any great movie I can think of.”
Citizen Kane is The Beatles of movies, not just because of its universal influence and acclaim, or because it really does live up to the historical hype, but because on top of its arty aspirations, what it really wants to do is entertain the hell out of you.
Also, if you’re watching it carefully, the movie’s self-reflexiveness hides and reveals a devastating history of media. You’ve got CFK, accidental heir to a fortune based on “oil wells, gold mines, shipping, and real estate,” who trades it all for a communications empire: newspapers, radio stations, paper mills, opera houses, and grocery stores, only to be pushed to the margins after a failed political run in favor of the next generation: magazines and movies, the trade of the newsreel producers who try to track down the labyrinthine origin of “Rosebud.”
The whole movie’s about trying to invent something from nothing, about pretenses to real value, and how that whole house of cards tumbles apart. Eventually you’ve just got a giant room, where you can’t tell the art from the jigsaw puzzles, the childhood heirlooms from the tchotchke snowglobes. Everything propping up value disintegrates. (That’s what Kane figures out at the end, by the way, not that he misses his sled or his mom.)
As Borges wrote, it’s a metaphysical detective story that leads us to a labyrinth with no center. All that’s left is paper, just kindling for the fire.
Two major media companies issued statements about workplace values in the last 24 hours or so. From New York Times owner Arthur Sulzberger’s in-house “diversity and inclusion” reminder email this morning: “Our Company is committed to diversity and inclusion, and our goal is to provide a stimulating, supportive environment where employees can thrive and grow, sharing their many experiences, attitudes, cultures and viewpoints.” Okay, fine!
But here’s from new Tribune Company owner Sam Zell: “Discrimination based on gender, age, race, religion, national origin, marital status, sexual orientation, disability, or any other characteristic not related to performance, ability or attitude, protected by federal or state law, or not protected (such as inability to tell a joke, the occasional poor wardrobe choice or bad hair day), is strictly prohibited…. Working at Tribune means accepting that sometimes you might hear a word that you, personally, might not use. You might experience an attitude that you don’t share.” Wow. (PDF download, via LA Observed.)
And there’s also this in the new Tribune manual: “Under Rule #1, you may want to think twice before you enter into an intimate relationship with a co-worker. When you start, it might seem like a good idea. It’s when you stop, or the wrong people find out (and they will) that you could discover that perhaps it wasn’t.” That is THE BEST ADVICE EVER. Does Sam Zell live… in the real world? Also in the new Tribune Manual: “It’s good judgment not to put in writing what you don’t want printed on the front page of a newspaper. Or posted on a web site. Or heard on the news.” This thing reads like it came out of some wacky internet startup. (Disclosure: I’m taking money from both companies. Uh, for now!)