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A Jewish museum exhibit features the Palestinian flag. Some visitors wonder if it belongs.
(J. The Jewish News of Northern California via JTA) — Tucked in the far corner of a large, brightly-lit exhibition hall on the ground floor of the Contemporary Jewish Museum in San Francisco, there is a delicate-looking piece of art with a strong political message.
At first glance, it appears to be three circular vases with flowers in them. The ceramic vases sit on shelves attached to the wall, and colorful collages hang above them. On closer inspection, visitors will notice that the flowers are made out of paper and that affixed to each vase is an image of the Palestinian flag printed on foam board.
A nearby label written by the curators of the exhibit, titled “Tikkun: For the Cosmos, the Community, and Ourselves,” explains that the piece was inspired by a conversation the artist, Tosha Stimage of Berkeley, had with a Palestinian man. He told Stimage about the plants that are native to Palestine — “a place which he can no longer access due to the ongoing conflict in the region,” the curators write.
The label also includes a note about the flag: “Some may find its presence at The CJM troubling or confusing, while others may find it appropriate and forthright. Stimage recognizes the potential for these divergent responses and hopes to use them as a means of generating dialogue.”
On a Sunday afternoon in October, Maury Ostroff read the label and walked away without inspecting the artwork.
Visitors to the “Tikkun” exhibit are encouraged to share their responses to the artwork via comment cards. (Andrew Esensten)
Asked how the presence of the flag made him feel, Ostroff, who is Jewish and lives in Muir Beach, in Marin County, replied, “Unhappy.”
Why?
“It’s not offensive to me in the same way that a swastika is. My skin is a little bit thicker than that. But I wish it weren’t here.”
He added, “What’s so Jewish about this? What’s so ‘tikkun olam’ about all of this?”
For the “Tikkun” exhibit, which opened Feb. 17 and runs through Jan. 8, the CJM invited both Jewish and non-Jewish Bay Area artists to contribute new works on the theme of repair, however they chose to interpret it. “No one is listening to us,” the piece by Stimage, who is not Jewish, is the first work of art featuring the Palestinian flag to be shown at CJM in recent memory; the museum could not say when or if the flag has been displayed on its walls before.
The piece prompted several internal conversations among CJM staff when it was first submitted and, since it has been on display, has generated a variety of responses from museumgoers who have left comments in a box at the entrance to the exhibit. Intentionally or not, Stimage has raised numerous questions with the artwork, including: Does a work of art that is sympathetic to the Palestinian struggle for statehood belong in a Jewish museum? And what is the role of a contemporary Jewish museum, anyway?
“To truly be a contemporary art museum, meaning embedded in the contemporary issues of our day, our job is to provide a platform for dialogue and to share a diversity of perspectives on our walls,” said Chad Coerver, CJM’s executive director since September 2021. “If any institution [like ours] took the path of withholding artwork that troubled our staff, our board or our community, it would be very difficult to mount exhibitions.”
CJM is a member of the Council of American Jewish Museums, a network of 76 museums across the country. CAJM does not have guidelines about the kind of art its member museums can and cannot display, according to Executive Director Melissa Yaverbaum.
J. reached out to several CAJM member museums in New York, Los Angeles and other places by email to ask if they had ever shown artwork with Palestinian iconography or works by Palestinian artists. The museums declined to answer or did not respond.
In recent years, two Jewish museums have been embroiled in controversy over issues relating to the Israeli-Palestinian conflict. The Spertus Institute for Jewish Learning and Leadership in Chicago staged an exhibit in 2008 on Israeli and Palestinian concepts of homeland that included maps and portraits of Palestinians. Following outcry from members of the local Jewish community who felt the exhibit presented Israel in a negative light, the museum decided to close the exhibit after only a few weeks. And in 2019, the director of the Jewish Museum Berlin resigned after the museum tweeted a link to a pro-BDS article in a German newspaper. (The museum previously came under fire for welcoming anti-Zionist scholar Judith Butler and representatives of Iran.)
In a joint interview with J., two CJM staffers who worked on “Tikkun” — co-curator Qianjin Montoya, who is not Jewish, and a Jewish senior curator who served in an advisory role, Heidi Rabben — shared the story of how Stimage’s piece came to be in the exhibit. (Montoya’s co-curator for the exhibit, Arianne Gelardin, no longer works at the museum.)
Since 2009, CJM has invited local artists from different backgrounds to create new work as part of the museum’s annual Dorothy Saxe Invitational. The idea for “Tikkun” was hatched before the pandemic put the planning process on hold. Once the CJM and Saxe — a local philanthropist and art collector — agreed on the theme, the co-curators invited artists “already engaged in healing through their relationship to community or in their practice of daily life,” Gelardin told J. last February.
The 30 artists who accepted the museum’s invitation were given only four months to conceive of and submit new works. That was likely the shortest timeline in the history of the invitational, which has been held 11 previous times, according to the museum. Each artist received a packet of materials compiled by CJM staff, with input from the Shalom Hartman Institute, a non-degree granting Jewish education center, to guide their thinking on “tikkun.”
Stimage was invited to participate because she is “very active” in the Bay Area and because “her work reflects ideas of community and connection,” Montoya said.
The curators said Stimage’s inclusion of the Palestinian flag in her submitted piece came as a surprise and prompted challenging conversations. However, they noted that they found the content of some of the other artists’ work surprising, too, and that it’s not unusual for contemporary artists to push the envelope in their work.
“I wouldn’t say we expected to receive a piece about the Israeli-Palestinian conflict, but we weren’t steering anyone away from that, either,” Rabben told J., adding that the submission guidelines did not place any topic off limits. “That’s a commitment from the museum to authentically represent the creative spirit of the artists that we’re working with,” she said.
Still, the curators said they engaged in a dialogue with Stimage in order to better understand each aspect of her piece and her overall intentions. Through those conversations, the curators learned that Stimage wanted to explore a moment of “rupture,” and that through her piece she hoped to communicate “that before healing or repair might happen, you have to first acknowledge that rupture,” Rabben said.
The Contemporary Jewish Museum in San Francisco is showing “Tikkun,” an exhibit of works by Jewish and non-Jewish artists on the theme of repair. (Andrew Esensten)
Coerver, who was involved in some of the conversations, stressed that “careful consideration” was given to including the piece in the exhibit. “We felt an artwork addressing the plight of the Palestinians was appropriate in an exhibition on healing and repair,” he said. (No work submitted as part of the Dorothy Saxe Invitational has ever been outright rejected, the museum said.)
Stimage did not respond to interview requests from J. According to a CV on her website, she was born in Jackson, Mississippi, and earned an MFA from California College of the Arts in 2016. She is a past fellow at the Yerba Buena Center for the Arts in San Francisco and was an artist-in-residence at Facebook in 2018. She also owns a floral gift shop in Oakland called Saint Flora.
Her work often touches on Black identity; she created a piece honoring Sandra Bland, an African-American woman whose 2015 arrest and death in a Texas jail cell sparked protests, and contributed to a 2019 San Francisco Art Institute exhibit on the Black Panther Party.
“I have a responsibility to create things that will, to the best of my present knowledge, do more good than harm, heal, inspire and uplift other humans,” she told the San Francisco Bay View National Black Newspaper in 2015.
Stimage’s precise views on Israel are unknown. CJM referred J. to her artist statement for “No one is listening to us,” which reads: “Olive, sage, and sumac are flowering plants native to the Mediterranean (including regions of Gaza and the West Bank) that have a direct relationship to contested ancestral land and affect the livelihood of so many Palestinian farmers and families caught in the conflict. They are positioned in the space of The Contemporary Jewish Museum as a metaphor for the ongoing conflict over land rights and the desperate need for restoration and healing of an age-old wound.”
The curators told J. that during their conversations with Stimage about her piece, they asked her why including images of the Palestinian flag was important to her but did not request that she remove them.
“We determined that none of [the piece’s] components in and of themselves signified something problematic or concerning,” Rabben said. “Of course, we had the awareness that the symbol [of the flag] will be read in a variety of ways by a variety of people.”
(Rabben pointed out that the exhibit includes other works with national symbols rendered in provocative ways, such as a black-and-white photograph of an American flag that was torn apart and partially reassembled by Mexican-American artist Jose Arias.)
The Palestinian flag — which contains the Pan-Arab colors of black, white, green and red — was adopted by the Palestine Liberation Organization in 1964. Since then, it has been the primary symbol of Palestinian nationalism.
For decades, the PLO was considered an enemy organization by Israel, and anything associated with it “had no place in Israeli public life,” said Eran Kaplan, an Israeli-born professor of Israel studies at San Francisco State University. Israel never went so far as to ban the flag. However, during the First Intifada, which lasted from 1987 to 1993, Israeli soldiers sometimes followed orders to confiscate the flag from protesters in the West Bank and Gaza.
With the signing of the Oslo Accord in 1993, Israel and the PLO recognized each other as negotiating partners. Yet the Palestinian flag remains a contentious symbol in Israel today. Kaplan noted that it recently served as a flashpoint during the funeral procession of Shireen Abu Akleh, the Palestinian American broadcaster who was killed in the West Bank in May. (The IDF conducted a review and admitted that the Israeli soldier who shot her had most likely misidentified her as an armed militant.) After warning Abu Akleh’s family not to display the flag, Israeli police attacked mourners in East Jerusalem, ripping flags out of their hands and off of the vehicle carrying her casket.
Today, the flag holds different meanings for Israelis and American Jews from different generations and political persuasions.
“There are large segments in Israeli society who view any form of Palestinian national identity as a threat to the existence of Israel,” Kaplan said. “There are others who view the PLO as legitimate partners in any form of negotiations [over the creation of a Palestinian state], but there’s an absolute split over those questions.”
Given the sensitive nature of Stimage’s work and others in the exhibit, the curators decided to solicit feedback from visitors via comment cards available at the entrance to the hall. Rabben said the museum has received a number of comments specifically about “No one is listening to us,” most of which were positive. “The majority of those comments were ‘Thank you for offering space for this topic at the museum,’” she said.
Last month, a security guard sitting in the “Tikkun” exhibition hall told a reporter that he had not witnessed any expressions of outrage or protest through the first nine months of the exhibit. “When we opened we were afraid of negative reactions, but they’re not stressed about it,” he said of visitors. “We have shown worse things here.” The guard, who has worked at the museum since it opened in 2008, mentioned a 2010 exhibit, “Our Struggle: Responding to Mein Kampf,” which included a copy of Hitler’s autobiography. “Some people were cussing us out” for displaying the book, he recalled.
Meanwhile, on the same floor as “Tikkun,” there is another, smaller exhibit containing potentially offensive art. A sign outside of the room warns visitors that inside is a Hitler marionette created by the parents of puppeteer Frank Oz. “Our intention in displaying this object is to keep the memory of the Holocaust alive through the objects and firsthand stories of those who experienced its persecution, and to encourage conversation and education about the ongoing horrors of antisemitism and authoritarianism today,” the sign says.
Coerver, CJM’s executive director, said he was proud that the museum’s three current exhibits — “Tikkun,” “Oz is for Oznowicz: A Puppet Family’s History” and “Gillian Laub: Family Matters,” which includes photographs that Laub took of her Trump-supporting relatives — are raising “challenging questions” and providing opportunities for both visitors and museum staff to “expand our horizons.”
“We’ve been wading into some issues that I think are a little thicker than maybe we’ve been confronting in the past,” he said, “and I hope that continues.”
A version of this piece originally ran in J. The Jewish News of Northern California, and is reprinted with permission.
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Mamdani fails first political test in Manhattan race. Here’s why it matters to Jews
New York City Mayor Zohran Mamdani was dealt a political blow Tuesday in a closely watched special election, a result that could reshape a high-stakes fight over protest protections that has galvanized the city’s Jewish community.
The race for an open Manhattan Council seat pitted Carl Wilson, an establishment candidate with deep ties to the district and backing from Council Speaker Julie Menin and City Comptroller Mark Levine, against Lindsey Boylan, a former aide to Andrew Cuomo and the first of multiple women to accuse Cuomo of sexual harassment. Boylan joined the Democratic Socialists of America last year — inspired by Mamdani — and has since emerged as a vocal critic of Israel.
The race took on outsized significance, with allies of Menin and establishment Democrats coalescing behind Wilson, a former chief of staff to ex-Councilmember Erik Bottcher, who vacated the seat after winning a special election to the state legislature in February. Meanwhile, activists aligned with Mamdani rallied behind Boylan. The district, in Chelsea and Greenwich Village, is a hub of the city’s LGBTQ+ community that includes the iconic Stonewall Inn.
Mamdani issued a late endorsement after early voting began last week, and quickly leaned in, campaigning with Boylan repeatedly and framing the race as a proving ground for his political operation. Mamdani is also seeking to extend that influence beyond City Hall, deploying top campaign aides and aggressively backing allies including Brad Lander and Claire Valdez in competitive June primaries for Congress.
Tuesday’s outcome — Wilson beating Boylan 43-25 in the ranked-choice contest, according to unofficial results — is being interpreted as a setback for Mamdani’s endorsement power and a sign that his electoral reach may be more limited than his rapid rise suggested.
Next NYC, a newly created super PAC tied to Cuomo, former city comptroller Scott Stringer and former Chicago Mayor Rahm Emanuel, invested heavily in the contest to counter Mamdani’s influence. Stringer, who ran in last year’s mayoral race and has emerged as a prominent Jewish critic of Mamdani, framed the broader political goal as defeating candidates aligned with the mayor. “One down,” Stringer posted on X earlier this week ahead of the election, predicting Boylan’s defeat.
Mamdani’s setback boosts override push
Symbolism aside, the election could have some immediate legislative consequences for New York City, home to the largest concentration of Jewish voters in the U.S. At issue is a Council bill requiring safety plans for protests near schools. The legislation, referred to as a “buffer zone” measure, was strongly supported by many Jewish groups amid concerns about demonstrations targeting Jewish institutions.
The schools bill ran into opposition from progressive groups that raised objections connected to restricting free speech, especially on college campuses. It passed the City Council 30-19, which is not a veto-proof majority. Mamdani vetoed the measure on Friday, his first veto since taking office.
A similar bill concerning protests at houses of worship passed with a 44–5 veto-proof majority in the 51-member chamber, and can now become law.
Wilson backs the schools bill. Boylan sided with Mamdani.
With Wilson’s victory, Menin’s allies are now within striking distance of overriding the schools bill veto. The Council currently stands at 31 votes of the 34 needed. Manhattan Councilmember Gale Brewer, who abstained, is viewed as a potential swing vote. Leadership could now flip just two “no” votes to secure an override, an easier task in the wake of Mamdani’s political setback in Boylan’s loss.
If successful, it would mark a significant legislative defeat for the mayor and strengthen Menin’s hand in the Council. It will also embolden critics within the Jewish community, already uneasy over Mamdani’s responses to antisemitism and pro-Palestinian protests.
The post Mamdani fails first political test in Manhattan race. Here’s why it matters to Jews appeared first on The Forward.
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How Israel’s Shift from ‘Deliberate Ambiguity’ to ‘Selective Disclosure’ Could Prevent a Nuclear War
A satellite image shows un‑buried tunnel entrances at Isfahan nuclear complex, in Isfahan, Iran, Nov. 11, 2024. Photo: Vantor/Handout via REUTERS
Though it might seem counter-intuitive, Israel needs specific enhancements to its strategic deterrence posture. Among other things, these necessary enhancements center on nuclear doctrine and strategy. Most urgently, Jerusalem should plan for an incremental but defined end to “deliberate nuclear ambiguity.”
Why should this argument be taken seriously? Hasn’t Iran’s nuclear potential been degraded or eliminated by Operations “Epic Fury” and “Roaring Lion”? During any future war with Iran, wouldn’t Israel already be in firm position to maintain “escalation dominance?”
Gathering the correct answers is more complex than first meets the eye.
Though a non-nuclear Iran would risk greater harms than would Israel in any future war, the more powerful Jewish State could still suffer the grievous consequences of (1) Iranian CBW (chemical-biological) or radiological attacks; and (2) Iran-spurred operational misunderstandings/policy miscalculations.
Iran could also call upon nuclear allies (most plausibly North Korea) to act as witting nuclear proxies, and on sub-state terror groups to inflict various force-multiplying costs. These groups (e.g., Hezbollah, Hamas, Houthi) would likely include both Sunni and Shiite surrogates.
For Israel, there will be derivative strategic issues. Prima facie, the direct Israel-American war against Shiite Iran has strengthened some Sunni state adversaries in the region. To wit, now there will be more compelling reason to expect nuclear moves by Turkey, Egypt, and/or Saudi Arabia. Correspondingly, certain predictable actions by China or Pakistan would further undermine Israel’s core national security.
What should Israel do? A comprehensive remedy would include calibrated policy shifts from “deliberate nuclear ambiguity” (Amimut in Hebrew) to “selective nuclear disclosure.” Though nuclear ambiguity has managed to “work” thus far, it will not work indefinitely.
At times, strategic truth must emerge through paradox. For Jerusalem, the greatest risk of catastrophic deterrence failure may lie in the prospect of Israeli nuclear threats that are “too destructive.” Oddly but plausibly, nuclear threat credibility could sometime vary inversely with nuclear threat destructiveness.
To be suitably deterred, an enemy state would require continuing assurances that Israel’s nuclear weapons were effectively invulnerable and “penetration-capable.” This second expectation would mean that Israel’s nuclear weapons not only appear protected from adversarial first-strikes, but are also able to “punch through” enemy active defenses.
Adversarial judgments concerning Israel’s ultimate willingness to engage with nuclear weapons would depend on acquiring certain foreknowledge of these weapons and their operational capabilities. Enemy perceptions of mega-destructive, high-yield Israeli nuclear weapons could undermine the credibility of Israel’s nuclear deterrent. Bringing a measured end to “deliberate nuclear ambiguity,” on the other hand, would offer a promising corrective for Israel’s ultimate and existential vulnerability. In principle, at least, if an enemy state should ever appear willing to share its nuclear military assets with a surrogate terrorist group, Jerusalem would then need to prepare for nuclear deterrence of sub-state adversaries.
The main point of any shift from “deliberate nuclear ambiguity” to “selective nuclear disclosure” would be to signal that Israel’s “bomb” capability lies safely beyond enemy reach and could punish all levels of enemy aggression. By removing the bomb from its metaphoric “basement,” Israel could best enhance its overall strategic deterrence. A properly-calculated end to “deliberate nuclear ambiguity” would underscore Israel’s willingness to use measured nuclear forces in reprisal for both first-strike and retaliatory attacks. Also, a defined shift from “deliberate nuclear ambiguity” to “selective nuclear disclosure” would best convince Iran or any other non-nuclear enemy state of Israel’s willingness to use calibrated nuclear force against a non–nuclear aggressor.
What about the so-called “Samson Option?” While generally misunderstood, this option could support Israel’s unrelieved task of strategic dissuasion. For Jerusalem, the reinforcing benefits of “Samson” would lie not in any supposed eagerness to “die with the Philistines,” but in its presumptive deterrent advantages. These expected advantages would lie at the “high end” of Israel’s deterrence options and serve any ultimate requirement of “escalation dominance.”
In assessing optimal levels of “selective nuclear disclosure,” Israel ought to continuously bear in mind that the country’s strategic nuclear objective must always be deterrence ex ante, not revenge ex post. If, however, nuclear weapons should ever be introduced into an escalating conflict with Iran or another enemy state, one form or another of actual nuclear war fighting would ensue. At that chaotic tipping point, Israel’s deterrence objective would need to shift from nuclear war avoidance to nuclear war termination.
Conceptually, if Israel were the only nuclear belligerent in a still-impending conflict, it would find itself in an “asymmetrical nuclear war.” If Israel’s foe were also nuclear, Jerusalem would then be engaged in a “symmetrical nuclear war.” Significantly, even in a “symmetrical” conflict, there would remain detectable inequalities of military power. To best support “escalation dominance” amid such destabilizing inequalities, Israel would benefit from prior policy shifts to “selective nuclear disclosure.” For authoritative decision-makers in Jerusalem, there could be no more important step toward national survival.
Prof. Louis René Beres was educated at Princeton (Ph.D., 1971) and is the author of many books and scholarly articles dealing with international law, nuclear strategy, nuclear war, and terrorism. In Israel, Prof. Beres was Chair of Project Daniel (PM Sharon). His 12th and latest book is Surviving Amid Chaos: Israel’s Nuclear Strategy (Rowman & Littlefield, 2016; 2nd ed., 2018). Professor Beres was born in Zurich at the end of World War II.
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Palestinian Authority TV Promises Israel ‘Will Pass’ and Cease to Exist
Palestinian Authority President Mahmoud Abbas holds a leadership meeting in Ramallah, in the West Bank, April 23, 2025. Photo: REUTERS/Mohammed Torokman
Having just celebrated 78 years of independence, Israel has proven it is here to stay.
But the Palestinian Authority (PA) and Palestinians in general are adamantly claiming Israel’s status is temporary, while dreaming and hoping for its demise.
“There is no room for two identities,” a host on PA’s official TV channel stated, predicting that Israelis/Jews are “the ones who will pass”:
Official PA TV host:“The Israeli occupation … is taking control of the holy city [Jerusalem] and the Islamic and Christian holy sites in it.
But in this land, there is no room for two identities: [It is] either us or us. We are the ones who will remain and they are the ones who will pass.” [emphasis added]
[Official PA TV, Palestine This Morning, March 29, 2026]
A Palestinian researcher similarly taught viewers that Jews “are transient in this land” and that Palestinians are “the true owners”:
Palestinian affairs researcher Muna Abu Hamdiyeh: “We are talking about the Ibrahimi Mosque [i.e., Cave of the Patriarchs] — the Judaization of the site.
The Palestinian understands that [the Jews] are transient in this land.
Everything that the archaeological delegations that have visited Palestine and the Ibrahimi Mosque have presented has proven that the occupation has no connection, no existence and no roots in this land …
As part of our role as those who research the Palestinian cause, history, or archaeology, we must clarify this situation to the Palestinians: We are the true owners of this land, and therefore [we] must not abandon it, no matter what… [The Palestinian] completely understands that he has suffered from violence and aggression [only] because he owns something that the other –who is transient in this place — wants to take from him.” [emphasis added]
[Official PA TV, March 16, 2026]
Another Palestinian academic also envisioned Israel’s downfall, stating at a cultural meeting in Paris that the Palestinians “will win and all of Palestine will be liberated”:
Palestinian researcher Muzna Al-Shihabi: “When we see all the people who came here today just to … hear about Palestine and know better what is happening [in Palestine], this is proof that — honestly, it gives us great hope that in the end we will win and all of Palestine will be liberated.” [emphasis added]
[Official PA TV News, Feb. 2, 2026]
Manifesting the Palestinian narrative in numerous ways, on at least two separate occasions, PA TV broadcast the following “poet” from Gaza predicting the end of Israel’s “colonial rule” just as other colonial rulers have been defeated:
Gazan poet Adel Al-Ramadi:
“Do not believe that the land will not return
How much has this land been occupied!
How much defilement?
How many soldiers have trodden upon it!
So where are the soldiers?
Where is the rule of the Greeks over us?
Where is the rule of the Tatars?
Where is the rule of the Romans?
Where is the rule of the Persians?
Where is the rule of the Crusaders?
Where is the rule of the English?
Where are the soldiers?
One day you will grow up and ask:
Where is the rule of the Jews?” [emphasis added]
[Official PA TV, Dec. 7, 2025, and April 5, 2026]
PA TV chose to rebroadcast a documentary from 2021 with the conclusion that Israel “will disappear”:
Official PA TV narrator: “Immediately after the [Israeli] occupation of Jerusalem in 1967 and until this day, they have not stopped making attempts to Judaize the place and take control of it, aiming to destroy the Al-Aqsa Mosque to build the alleged Temple in its place …
This speaking stone is like a person and a place at the same time. Its age is many times greater than the age of the occupation state [i.e., Israel]. The Al-Aqsa Mosque will remain here, the eternal capital Jerusalem will remain here, and the occupation will disappear!” [emphasis added]
Images are shown of Palestinians waving Palestinian flags on the Temple Mount.
[Official PA TV, broadcast of 2021 documentary film “The Speaking Stone,” March 20, 2026]
A released murderer also joined the choir, telling “heroic” imprisoned terrorists that Allah will “liberate the land”:
Released terrorist murderer Shadi Abu Shakhdam: “My message to our heroic prisoners [i.e., terrorists] behind bars: Just as Allah showed us mercy and granted us freedom, Allah willing the time and moment will come when He will show mercy to our brothers and grant them freedom.
Allah willing, there will be freedom with the liberation of both the land and the people.” [emphasis added]
[Official PA TV, Giants of Endurance, March 21, 2026]
As Palestinian Media Watch recently reported, there are many more examples of how the PA dreams of Israel’s demise.
World leaders must finally acknowledge this deeply entrenched destructive vision that the PA embraces, and oppose giving the PA any role in the future of the region.
The author is the Founder and Director of Palestinian Media Watch, where a version of this article first appeared.