As goes the Washington Post: US democracy takes another hit under Trump; The Guardian, February 8, 2026

Ed Pilkington and Jeremy Barr, The Guardian; As goes the Washington Post: US democracy takes another hit under Trump

Jeff Bezos’s axing of more than 300 jobs at the storied newspaper has renewed fears about the resilience of America’s democracy to withstand Trump’s attacks

"The email landed in Lizzie Johnson’s in-tray in Ukraine just before 4pm local time. It came at a tough time for the reporter: Russia had been repeatedly striking the country’s power grid, and just days before she had been forced to work out of her car without heat, power or running water, writing in pencil because pen ink freezes too readily.

“Difficult news,” was the subject line. The body text said: “Your position is eliminated as part of today’s organizational changes,” explaining that it was necessary to get rid of her to meet the “evolving needs of our business”.

Johnson’s response may go down in the annals of American media history. “I was just laid off by The Washington Post in the middle of a warzone,” she wrote on X. “I have no words.”

The Washington Post’s Ukraine correspondent may have been rendered speechless over Wednesday’s move by Jeff Bezos, the Amazon billionaire and Post owner, to cut more than 300 newsroom jobs. The bloodletting, which has raised renewed fears about the resilience of America’s democracy to withstand Donald Trump’s attacks, swept away the paper’s entire sports department, much of its culture and local staff and all of its journalists in such arid news zones as Ukraine and the Middle East.

Others, though, managed to find their tongues. “It’s a bad day,” said Don Graham, son of the Post’s legendary Watergate-era owner Katharine Graham, breaking the silence he has maintained since selling the paper to Bezos for $250m in 2013.

“I am crushed,” was the lament of Bob Woodward, one-half of the paper’s double act with Carl Bernstein that exposed Watergate.

“This ranks among the darkest days in the history of one of the world’s greatest news organizations,” said Marty Baron, the Post’s lionised former executive editor. Not one to mince his words, Baron castigated Bezos for his “sickening efforts to curry favor with President Trump”, saying it left an especially “ugly stain” on the paper’s standing...

The cumulative malaise that is descending over US media leaves the country’s democratic institutions vulnerable to attack. It can’t be exclusively blamed for Trump’s excesses.

There are plenty of other willing accomplices and capitulators, including universities like Columbia, corporate law firms and the gung-ho conservative activists who now control the supreme court.

But from Trump’s perspective, a media on its knees surely helps. The results are present everywhere you look.

Trump is unleashed, unchained. He feels so comfortable in his regal skin that he can berate a respected female CNN reporter questioning him on the Epstein files for never smiling.

He can peddle unashamedly in racism, posting a video depicting the first Black president and his first lady as monkeys.

He can send a masked paramilitary into the streets of Minneapolis, resulting in Americans getting killed for exercising their first amendment rights. And when the polls for November’s midterm elections look challenging for him, he can prepare for another blitzkrieg on the very foundations of American democracy: the ballot box.

There’s a paradox in all this. Many of the democratic norms that Trump is obliterating – take for example his destruction of the norm of Department of Justice independence in his persecution of his political opponents – were laid down in the 1970s in the wake of the Watergate scandal.

That’s the same Watergate scandal that was brought into the light by that pair of courageous reporters at a newspaper called the Washington Post."

Legal Battle Continues for Amyl & the Sniffers and L.A. Photographer, Both Citing Copyright Infringement; Vice, February 4, 2026

 Lauren Boisvert, Vice; Legal Battle Continues for Amyl & the Sniffers and L.A. Photographer, Both Citing Copyright Infringement

"Legal issues have escalated for Australian punks Amyl & The Sniffers, and right after they announced upcoming tour dates. L.A. courts scheduled a hearing for February 13, 2026, regarding a copyright lawsuit and a restraining order filed last year. The issue allegedly began in June 2024, involving L.A.-based photographer Jamie Nelson.

In December 2025, Nelson filed a civil harassment restraining order petition against Amy Taylor, vocalist of Amyl & The Sniffers. Courts in L.A. did not grant the temporary restraining order. But they did schedule the hearing at this time.

Nelson is cited as the creator and copyright holder of a series of photographs taken of Taylor. The series, titled “Champagne Problems”, appeared in the July 2025 issue of Vogue Portugal.The problem arises for both parties in the subsequent use of these photos beyond their initial purpose.

Essentially, Nelson is accusing Taylor of violating copyright on her photos. Allegedly, a third party related to Taylor distributed them without permission. Prior to this, Taylor accused Nelson of exploiting her image for profit and self-advertisement. Allegedly, she sold fine art prints of the photos. Both parties have taken legal action."

Baltimore ponders the ethics of saving parking spots as snow lingers; WYPR, February 3, 2026

Scott Maucione , WYPR; Baltimore ponders the ethics of saving parking spots as snow lingers

"During a snow storm, parking can verge on a moral crisis. What if the person taking a spot or reserving a spot has a broken leg or is eight and a half months pregnant, or just needs to make a quick trip to the store.

But much like the Wild West, it’s vigilante justice in the world of frozen city streets.

Emily Heleba waited all week to shovel her car out. Now half way through the job, she has no hopes she’ll actually be able to keep the spot.

“I've seen a lot of stories of people who do that, and then their neighbors come out and throw their chairs out and steal the spot anyway,” Heleba said.

So, until the snow melts, the parking wars will continue."

Now We Know What All Those People Got From Epstein; The New York Times, February 7, 2026

Molly Jong-Fast, The New York Times ; Now We Know What All Those People Got From Epstein

"Many of the people revealed as knowing him well had previously claimed they hardly knew him, and all of them are now claiming they certainly didn’t know him well enough to witness the pedophilia. Now they are disgraced by their connection, and often, out of a job.

Many people stuck with him even after he had gone to jail in 2008 in Florida for sex crimes, and in some cases even after he landed in jail again in 2019 on sex-trafficking charges. Back then, the plight of the victims often seemed to be an afterthought. That’s most likely because whatever they received from him in the past — access to career-enhancing people, access to young girls and an endless supply of freebies — might still be on offer. This is the nature of the Epstein files: It’s the record of what a global class of very privileged, accomplished and self-important people want to get gifted.

Sometimes it was a Prada bag. Other times it was a flight on Mr. Epstein’s jet, or a weekend at his island. Sometimes it was a donation to a charity or school. Or a job for their kid working on a Woody Allen film, or a shortcut for Mr. Allen’s own kid to get intoBard. Sometimes it was a “tall, Swedish blonde.” Other times it was a young woman who might be a “a little freaked by the age difference.”...

There are many terrible secrets buried in the Epstein files, which mix the mundane and the horrific, the thirsty and the criminal, and perhaps that’s the most upsetting part of all of this. Casually wrapped up together with a bow are canceled men and sex trafficking and media advice from Michael Wolff. Being a convicted sex offender did not make Mr. Epstein an outcast, not when he seemed to have something to offer. His transactional amorality actually seemed to add to his appeal to people who were convinced that the rules didn’t apply to them."

The world heard JD Vance being booed at the Olympics. Except for viewers in the US; The Guardian, February 7, 2026

Bryan Armen Graham  , The Guardian; The world heard JD Vance being booed at the Olympics. Except for viewers in the US

"The modern Olympics sell themselves on a simple premise: the whole world, watching the same moment, at the same time. On Friday night in Milan, that illusion fractured in real time.

When Team USA entered the San Siro during the parade of nations, the speed skater Erin Jackson led the delegation into a wall of cheers. Moments later, when cameras cut to US vice-president JD Vance and second lady Usha Vance, large sections of the crowd responded with boos. Not subtle ones, but audible and sustained ones. Canadian viewers heard them. Journalists seated in the press tribunes in the upper deck, myself included, clearly heard them. But as I quickly realized from a groupchat with friends back home, American viewers watching NBC did not.

On its own, the situation might once have passed unnoticed. But the defining feature of the modern sports media landscape is that no single broadcaster controls the moment any more. CBC carried it. The BBC liveblogged it. Fans clipped it. Within minutes, multiple versions of the same happening were circulating online – some with boos, some without – turning what might once have been a routine production call into a case study in information asymmetry.

For its part, NBC has denied editing the crowd audio, although it is difficult to resolve why the boos so audible in the stadium and on other broadcasts were absent for US viewers. But in a broader sense, it is becoming harder, not easier, to curate reality when the rest of the world is holding up its own camera angles. And that raises an uncomfortable question as the United States moves toward hosting two of the largest sporting events on the planet: the 2026 men’s World Cup and the 2028 Los Angeles Olympics.

If a US administration figure is booed at the Olympics in Los Angeles, or a World Cup match in New Jersey or Dallas, will American domestic broadcasts simply mute or avoid mentioning the crowd audio? If so, what happens when the world feed, or a foreign broadcaster, shows something else entirely? What happens when 40,000 phones in the stadium upload their own version in real time?

The risk is not just that viewers will see through it. It is that attempts to manage the narrative will make American broadcasters look less credible, not more. Because the audience now assumes there is always another angle. Every time a broadcaster makes that trade – credibility for insulation – it is a trade audiences eventually notice."

State Department will delete X posts from before Trump returned to office; NPR, February 7, 2026

Shannon Bond, Stephen Fowler, NPR; State Department will delete X posts from before Trump returned to office

"The State Department is removing all posts on its public accounts on the social media platform X made before President Trump returned to office on Jan. 20, 2025.

The posts will be internally archived but will no longer be on public view, the State Department confirmed to NPR. Staff members were told that anyone wanting to see older posts will have to file a Freedom of Information Act request, according to a State Department employee who asked to remain anonymous for fear of retaliation by the Trump administration. That would differ from how the U.S. government typically handles archiving the public online footprint of previous administrations.

The move comes as the Trump administration has removed wide swaths of information from government websites that conflict with the president's views, including environmental and health data and references to women, people of color and members of the LGBTQ+ community. The government has also taken down signs at national parks mentioning slavery and references to Trump's impeachments and presidency at the National Portrait Gallery.

The White House has also launched a revisionist history account of the Jan. 6, 2021, attack on the U.S. Capitol and has replaced the government's coronavirus resource sites with a page titled "Lab Leak: The True Origins of Covid-19."

The removal of State Department X posts from public view appears to be less about ideological differences with past statements and more about control of future messaging. The directive will see the removal of posts from Trump's first term as well as those under then-Presidents Joe Biden and Barack Obama.

In response to NPR's questions about the removals, an unnamed State Department spokesperson said the goal "is to limit confusion on U.S government policy and to speak with one voice to advance the President, Secretary, and Administration's goals and messaging. It will preserve history while promoting the present." The spokesperson said the department's X accounts "are one of our most powerful tools for advancing the America First goals and messaging of the President, Secretary, and Administration, both to our fellow Americans and audiences around the world.""

Moltbook was peak AI theater; MIT Technology Review, February 6, 2026

 Will Douglas Heaven, MIT Technology Review; Moltbook was peak AI theater

"Perhaps the best way to think of Moltbook is as a new kind of entertainment: a place where people wind up their bots and set them loose. “It’s basically a spectator sport, like fantasy football, but for language models,” says Jason Schloetzer at the Georgetown Psaros Center for Financial Markets and Policy. “You configure your agent and watch it compete for viral moments, and brag when your agent posts something clever or funny.”

“People aren’t really believing their agents are conscious,” he adds. “It’s just a new form of competitive or creative play, like how Pokémon trainers don’t think their Pokémon are real but still get invested in battles.”

Even if Moltbook is just the internet’s newest playground, there’s still a serious takeaway here. This week showed how many risks people are happy to take for their AI lulz. Many security experts have warned that Moltbook is dangerous: Agents that may have access to their users’ private data, including bank details or passwords, are running amok on a website filled with unvetted content, including potentially malicious instructions for what to do with that data."

Ex-Google engineer found guilty of stealing AI secrets for China; Axios, February 2, 2026

 Rebecca Falconer, Axios; Ex-Google engineer found guilty of stealing AI secrets for China

"A former Google engineer was found guilty of economic espionage and theft of confidential AI technology for the benefit of China's government, the FBI said Monday.

Why it matters: Intelligence and defense officials have long warned of increased efforts by Beijing and others to obtain U.S. intellectual property and use AI against American interests.

State of play: A federal jury in San Francisco convicted Linwei Ding, also known as Leon Ding, 38, of seven counts of economic espionage and seven counts of theft of trade secrets, per an FBI post on X Monday."

Radiohead's Biggest Song of All-Time Got Them Sued for Copyright Infringement; Collider, February 7, 2026

Dyah Ayu Larasati, Collider; Radiohead's Biggest Song of All-Time Got Them Sued for Copyright Infringement

"Radiohead gained widespread attention thanks to their breakout song, "Creep," but not all publicity is good publicity. Released on September 21, 1992, "Creep" was initially considered a commercial flop due to its harsh, distorted guitar "punches," with broadcast stations like the BBC fearing the song might scare off listeners. Over time, however, "Creep" developed a slow-burn cult following, boosted in part by its appearance on MTV's slacker staple Beavis and Butt-Head. Sharing a similar vein with alt-rock counterparts like Beck's "Loser" and its 2000s peppier yet equally self-loathing "Teenage Dirtbag" by Wheatus, "Creep" embraces the ugly side of an attraction that is not reciprocated.

However, shortly after the release of "Creep," Radiohead found themselves in a sticky legal situation. Songwriters Albert Hammond and Mike Hazlewood claimed that the track shared a similar chord progression and melody with "The Air That I Breathe," which they wrote for The Hollies in 1972. Although it was not as large a cultural phenomenon as "Creep," the song reached number two on the UK charts. Upon noticing the similarities, Hammond and Hazlewood contacted Radiohead's publisher, Warner/Chappell Music. Rather than escalating into a public dispute, the matter was resolved amicably, with both parties receiving songwriting credits and having their creative contributions formally recognized. Reflecting on the outcome, Hammond later remarked, "I even have a credit on Creep by Radiohead because of the song. The band admitted that they took the inspiration for it from The Air That I Breathe, including some of the chord progressions."...

In 2017, Lana Del Rey was accused by Radiohead of plagiarizing "Creep." Her song "Get Free," from her fifth studio album Lust for Life, features an intro with moody chord changes that some listeners noted were similar to "Creep." However, in a tweet, Del Rey denied referencing Radiohead: " It's true about the lawsuit. Although I know my song wasn't inspired by Creep, Radiohead feel it was and want 100% of the publishing — I offered up to 40 over the last few months, but they will only accept 100." As of March 26, 2018, the copyright dispute has been settled, and Del Rey is free to sing the song."

Academy breaks down ethics of Mount Pleasant Police cheating accusations Live5WCSC, February 5, 2026

Caroline Spikes , Live5WCSC; Academy breaks down ethics of Mount Pleasant Police cheating accusations

"Ten Mount Pleasant Police Department officers accused of cheating on a self-administered online test have prompted the South Carolina Criminal Justice Academy to review protocols for online testing.

The officers are accused of cheating on an online recertification for a breathalyzer device. Academy Director Jackie Swindler said this is not the first time the academy has seen an officer attempt to cheat online."

NBC appears to cut crowd’s booing of JD Vance from Winter Olympics broadcast; The Guardian, February 6, 2026

Tom Lutz , The Guardian; NBC appears to cut crowd’s booing of JD Vance from Winter Olympics broadcast

[Kip Currier: NBC's decision to edit out booing of JD Vance during the Winter Olympics' Opening Ceremony is not surprising, given prior instances of U.S. media editing of similar occurrences, as noted in this Guardian article. But it is nevertheless troubling. NBC is distorting and altering what actually happened, without informing viewers and listeners of its editorial decision-making.

The Opening Ceremony isn't a fictional movie: it's an historical, newsworthy event. As such, alterations to the historical record should not have been made.

Additionally, if a news organization like NBC decides to make changes to news reporting, like removing or suppressing sound for non-technical reasons, it should be transparent about having done so and explain the reasons for such alterations. Trust in news organizations is vital. Actions like sanitization and alterations of news reporting diminish public trust in the accuracy and integrity of news sources and disseminators.

NBCU Academy's website provides information on ethics in journalism. Its first principle "Seek the truth and be truthful in your reporting." is relevant to the editorial decision to edit out the booing of JD Vance:

What are journalism ethics?

Ethics are the guiding values, standards and responsibilities of journalism. At NBCU News Group, the following principles act as the foundation of ethical journalism:

Seek the truth and be truthful in your reporting. Your reporting should be accurate and fair. Ensure that the facts you gathered are verified, sources are attributed and context is provided. Journalists should be bold in seeking and presenting truths to the public, serving as watchdogs over public officials and holding the powerful accountable.

https://nbcuacademy.com/journalism-ethics/

The Society of Professional Journalists (SPJ) also maintains a Code of Ethics. One of its four guiding principles addresses transparency and accountability:

BE ACCOUNTABLE AND TRANSPARENT

Ethical journalism means taking responsibility for one's work and explaining one’s decisions to the public.

Journalists should:

 

Explain ethical choices and processes to audiences. Encourage a civil dialogue with the public about journalistic practices, coverage and news content.

 

Respond quickly to questions about accuracy, clarity and fairness.

 

Acknowledge mistakes and correct them promptly and prominently.

 

Explain corrections and clarifications carefully and clearly.

 

Expose unethical conduct in journalism, including within their organizations.

 

Abide by the same high standards they expect of others.

https://www.spj.org/pdf/spj-code-of-ethics.pdf] 

[Excerpt]

"The US vice-president, JD Vance, was greeted by a chorus of boos when he appeared at the opening ceremony of the Winter Olympics in Milan on Friday, although American viewers watching NBC’s coverage would have been unaware of the reception.

As speedskater Erin Jackson led Team USA into the San Siro stadium she was greeted by cheers. But when the TV cameras cut to Vance and his wife, Usha, there were boos, jeers and a smattering of applause from the crowd. The reaction was shown on Canadian broadcaster CBC’s feed, with one commentator saying: “There is the vice-president JD Vance and his wife Usha – oops, those are not … uh … those are a lot of boos for him. Whistling, jeering, some applause.”

The Guardian’s Sean Ingle was also at the ceremony and noted the boos, as did USA Today’s Christine Brennan. However, on the NBC broadcast the boos were not heard or remarked upon when Vance appeared on screen, with the commentary team simply saying “JD Vance”. That didn’t stop footage of the boos being circulated and shared on social media in the US. The White House posted a clip of Vance applauding on NBC’s broadcast without any boos.

Friday was not the first time there have been moves to stop US viewers from witnessing dissent against the Trump administration. At September’s US Open, tournament organizers asked broadcasters not to show the crowd’s reaction to Donald Trump, who attended the men’s final. Part of the message read: “We ask all broadcasters to refrain from showing any disruptions or reactions in response to the president’s attendance in any capacity.”

Earlier on Friday in Milan, hundreds of people protested against the presence of US Immigration and Customs Enforcement (ICE) agents at this year’s Olympics. The US state department has said that several federal agencies, including ICE, will be at the Games to help protect visiting Americans. The state department said the ICE unit in Italy is separate from those involved in the immigration crackdown in the United States."