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October 20, 2026

Fascism and journalism don’t mix

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Attacks on journalists – whether by military forces in conflict zones or by law enforcement during civil unrest – pose a grave threat to freedom of speech and the health of democracy.

And unfortunately the numbers of deaths and injuries are increasing – 2024 was the deadliest year on record for journalists since global organisations began tracking such incidents.

The situation for journalists in Gaza has ballooned those numbers. Since October 2023, over 200 journalists have been killed according to www.bbc.com, with hundreds more injured or detained, mostly by Israeli military actions during the ongoing genocide. 

Eyewitness accounts and footage confirm that journalists – often clearly identified by press markings – have been shot at or killed while reporting from the field. 

And just last week, US military shot rubber bullets at clearly marked media personnel during the Los Angeles protests. Other members of the media were detained.

Is this a new normal?

A key cornerstone of authoritarian state actors is to muzzle anyone who is not part of their agenda.

Instead of killing members of the press, a better strategy is simply controlling the media.

During World War II, the fascist regimes of Germany, Italy, and Japan systematically took control of the media to promote their ideologies, suppress dissent, and mobilise public support for their war efforts. 

The Nazis established the Reich Ministry of Enlightenment and Propaganda, led by Joseph Goebbels, to coordinate all propaganda activities. Anti-Nazi newspapers were closed or taken over; all media was censored to suppress dissent, and ensure only pro-Nazi content was published.

A similar tactic rolled out at the same time in fascist Italy. Benito Mussolini, who was an experienced journalist, established the Ministry of Popular Culture, to coordinate propaganda and censorship.

Newspapers and even cinema focused on promoting fascist ideology, militarism, and Mussolini’s image as Italy’s saviour. Journalists and editors were expected to see their work as a form of national service, proactively avoiding criticism of the regime and promoting unity.

Meanwhile in Japan at the time, the public were largely shielded from bad news and opposition voices, fostering a climate of conformity and support for the war effort.

Propaganda emphasised loyalty to the emperor, national unity, and the righteousness of Japan’s war aims. Foreign propaganda targeted allied troops and exploited social tensions abroad.

Remarkably, it’s much the same in modern Japan – there is tight control around what is allowed to be called ‘news’. Much of the details around the 2011 nuclear Fukushima disaster remain secret, for example.

Fast forward to 2025, and the 47th US president has banned media outlets he doesn’t like from his press briefings, and lets in those who favour him.

And to celebrate his 79th birthday and the 250th year of US military, he held what is described as a flat and dull parade of tanks and marching soldiers.

Thankful the resistance so far is strong, with huge protests across the US in the name of ‘No Kings’.

Hans Lovejoy, editor

News tips are welcome: [email protected]



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Interview with Genevieve Clay-Smith, director of Boss Cat showing at the Byron Bay Film Festival

When Sonja (Olivia Hargroder) loses her mother without warning, the only steady presence left in her life is her grandmother, Doris. But Doris’s idea of stability means dismantling everything Sonja has built. For Sonja, who lives with Trisomy 21 (Down syndrome) and has spent her life fighting to be underestimated by no one, Doris’ plan feels less like protection and more like erasure. Directed by Genevieve Clay-Smith, Boss Cat is a vibrant, big-hearted Australian dramedy about independence, family and self-determination, anchored by a fearless lead performance.

Something for everyone at the Picture House

From Australian superstar musos, to brand new documentaries, to comedians at the top of their game, there really is something for everyone at the Brunswick Picture House.

Thirty-six unmissable films

The 2026 Russell Hobbs British Film Festival features an unmissable line up 36 films, including five retrospectives which will screen from 28 October to 29 November at Palace Byron Bay and Ballina Cinemas.

A timeless story of self-discovery

A husband with a promotion, two adorable children and a lovely new house. Nora thought she had it all. But did she? What was the discontent that was whispering to her in the shadows?