Monthly Archives: January 2024

Government Internet censorship is a permanent fact of life in some countries, but there are many more countries that impose Internet blocks in response to specific events. A new report says that happened on 196 occasions last year, with hundreds of millions of people affected

Some governments impose permanent restrictions on full Internet access. The biggest culprit here is China, which blocks access to a wide range of services, including:

The so-called Great Firewall of China also imposes blocks on content containing specific keywords. This includes the names of government leaders, political protests, the Tiananmen Square Massacre, and more.

But the annual report published by VPN review site Top10VPN looks instead at occasions when governments impose temporary shutdowns or blocks.

The latest report shows that there were 196 major self-imposed internet outages in 2023, across a total of 25 countries.

Iraq was the biggest offender, with a total of 66 shutdowns last year. Manipur, India, had the longest shutdown, totalling more than 5,000 hours.

Unsurprisingly, social network X topped the list of platform-specific blocks. Both news and commentary on political events and protests spread quickly on the platform, and repressive governments responded with blocks totalling 10,683 hours. Instagram, TikTok, and Facebook were also targeted.

Messaging services were also hit. These are commonly used to coordinate protests, and to circulate new the government doesnt want known. WhatsApp, Telegram, and Signal were all affected.

The reasons for these blocks is not hard to guess: wars and other conflicts, military coups, protests, and elections where repressive governments aim to block reports of election interference.

When a government wants to block Internet access while pretending not to, extreme throttling is used where bandwidth is reduced to such a degree that the Internet becomes effectively unusable. This is a common tactic for governments aiming to stop the circulation of videos, including live-streaming from protests.

Protocol blocking is used when governments want to shut down certain apps, or categories of apps. Here, they block specific TCP/IP ports used by messaging apps, for example.

In addition to the obvious human rights violations involved, the site says that the economic cost is significant.

Government internet outages in 25 countries lasting over 79,000 hours cost the global economy $9.01 billion in 2023.

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Government Internet censorship was imposed 196 times last year - 9to5Mac

Tom Smothers died last week, on the day after Christmas. The comedian and folk musician was 86. He died of causes related to cancer. Smothers and his brother Dick performed as a duo for some 60 years. Their act ostensibly centered on performing folk songs, but they developed ahumorous patterrooted in sibling rivalry early on in their joint career, which established them as acomedy act.

In the late 1960s, Tom Smothers demonstrated an anti-establishment streak, in relation not only to the Vietnam War but other social issues, which led CBS executives, in April 1969, to cancelThe Smothers Brothers Comedy Hour, a popular and influential prime-time weekly program, at the end of its third season. Although they eventually prevailed in a lawsuit against the television network, the brothers never regained their position in the national limelight. They demonstrated principle and paid the economic and career price.

In light of the various efforts at present to suppress widespread opposition to the policies of both parties, and in particular protests against the homicidal Israeli onslaught in Gaza, funded and fully endorsed by the White House, it is worth recalling that a willingness to launch fierce attacks on freedom of speech and democratic rights runs freely in the veins of the American ruling elite. The threat that a message of resistance to official policy will reach broad layers of the population has always especially terrified the powers that be in the US. At various points in the 20thcentury, and now in the 21st, the government, in close alliance with big business, has launched vicious campaigns against performers and other figures who defy what is proclaimed to be the national consensus.

Tom (born 1937) and Dick Smothers (born 1938) at first glance would seem to have been unlikely candidates for political iconoclasm.

Their father, a career soldier, was killed in the last days of World War II, while a prisoner of war of the Japanese, apparently by friendly fire. His POW ship was mistakenly bombed by Allied pilots en route from the Philippines to Korea. Their mother, according to author David Bianculli, inDangerously Funny: The Uncensored Story of The Smothers Brothers Comedy Hour,was in and out of rehab and state hospitals, leaving her children with others as she tried, with little success, to conquer her alcoholism. The family (including a sister) lived in southern California.

The brothers began performing together as a duo in 1960. Their influences were Burl Ives, the Kingston Trio, the Limeliters and other relatively innocuous acts. They intended to be straightforward folk singers, but feared they lacked the necessary musical skills. What eventually made them different was Toms nervous, obviously fictitious introductions to various songs, his generally mischievous or sometimes frightened demeanor, and the conflicts that inevitably arose between the brothers. They discovered an ability to improvise, and the naturalness of the comic friction between them rapidly attracted audiences.

Repeated appearances onThe Jack Paar Show(officiallyThe Tonight Show), starting in January 1961, made them nationally prominent figures. ANew York Timesreview in 1961 observed that Toms foolery reflects the speech pattern of a frightened tenth-grader giving a memorized talk at a Kiwanis meeting, while Dicks cherubic look suggests that he may have just won a Boy Scout merit badge for bass-playing.

The brothers were featured in a situation comedy,The Smothers Brothers Show, which lasted only one season, 1965-66, on CBS. Tom fought with executives of the production company.

He was determined to wield more creative control in the brothers next television venture, a variety series,The Smothers Brothers Comedy Hour, which was aired on Sunday nights at 9:00 p.m. starting in February 1967, against one of the most popular programs on network television, the long-running Western,Bonanza.

The shows 71 episodes appeared in the midst of highly explosive political and social events, including major inner-city riots; the assassinations of Martin Luther King Jr. and Robert F. Kennedy; the eruption of mass protests against the Vietnam War and the various bloody battles and campaigns of that conflict, including the Tet Offensive; the decision by Lyndon B. Johnson not to run again for the presidency; the brutal police attacks on protesters at the 1968 Democratic National Convention; and many others. Globally, of course, this was a period of upheaval with revolutionary implications, in Western Europe, Latin America and elsewhere.

To their credit, the Smothers Brothers, unlike most of the television personalities of the time, had the audacity to bring many of these events, and individuals with something to say about them, onto their program.

A number of controversial decisions led to a state of almost continuous warfare with CBS executives. One of the most memorable was the decision to invite veteran left-wing folk singer Pete Seeger to perform during the second season of theComedy Hour. Seeger had been blacklisted on prime time US television for 17 years after being listed inRed Channels, which identified individuals and organizations it claimed had affiliations with, or sympathy for, the Communist Party. This publication (byCounterattackmagazine, the newsletter of facts to combat Communism, started by three former FBI agents) fed the communist witch hunts and gave ammunition to Republican senator Joseph McCarthy from Wisconsin (Dangerously Funny).

Not only was Seeger scheduled to appear, but he planned to sing his new composition, Waist Deep in the Big Muddy, a song, although set in World War II, that was an obvious reference to the ongoing Vietnam War and the role of Lyndon Johnson in prosecuting it. As David Bianculli explains, The sixth and final stanza was the one that made CBS brass the most apoplectic. Every time I read the papers, Seeger sang, that old feeling comes onwere waist deep in the Big Muddy, and the big fool says to push on. Seeger was singing this five weeks after Johnson had committed more troops to Vietnam, and CBS found it unacceptable. CBS excised the song from the show, on a night when more than one in five US households tuned in to see Seeger sing.

Five months later, in February 1968, Seeger returned to the program, sang Waist Deep in the Big Muddy, and CBS raised no objections. As Bianculli notes, Tom Smothers had kept up a steady campaign against the act of censorship, but attitudes toward the Vietnam War, including attitudes within sections of the media and political establishment, had shifted. Also on CBS, only two days after Seegers second appearance, longtime news anchor Walter Cronkite appeared in a special and argued that it seems now more certain than ever that the bloody experience of Vietnam is to end in a stalemate and that more troops would not affect the probable outcome.

The Smothers Brothers also aroused the ire of CBS by opening their third season, in September 1968, with an appearance by Harry Belafonte, another veteran radical performer, with his own history of association with the Communist Party, or its artistic periphery. In one of his segments on the program, Belafonte sang a calypso medley built around Dont Stop the Carnival, written originally about the frenzied madness of a Mardi Gras celebration, but with new lyrics added to refer to the Democratic National Convention [one month earlier]as footage from the convention, and of police dragging and arresting protesters outside the hall, is projected behind him. Chicago Mayor Richard Daley was clearly shown in clips that were, to put it lightly, not at all flattering (Dangerously Funny).

CBS officials on both the West and East Coast were adamant in their refusal to broadcast the number. A bitter conflict between Tom Smothers and the CBS hierarchy erupted. The season premiere was broadcast without the Belafonte Carnival sequence. Adding insult to injury, CBS sold some five minutes of the space created by their censorship to the Republican Party as a campaign spot for presidential candidate Richard Nixon.

Conflicts between the brothers, Tom in particular, and CBS raged throughout the third and final season. Continued and sustained criticism of the Vietnam quagmire, mockery of religion (featuring comic David Steinberg), attacks on police brutality, references to interracial relationships, double entendres about drug use and sexuality and, as a new feature, the skewering of Nixon (including an Arthurian-era tale, Bianculli comments, with Sir Richard of Nixon, also known as Tricky Dicky, that probably put the Smothers Brothers on Nixons radar), all of this only added fuel to the fire.

The Smothers Brothers also made an effort to present music which young people were listening to. Among the groups and individuals who appeared on the program were George Harrison, Buffalo Springfield, Cream, the Who, Donovan, the Doors, Janis Ian, Jefferson Airplane, Peter, Paul and Mary, Steppenwolf, Simon and Garfunkel, Ray Charles and Ike and Tina Turner.

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An appearance by folk singer Joan Baez produced another bitter dispute between Tom Smothers and corporate headquarters. Baez introduced a song by explaining that it was dedicated to her husband, David Harris, who was going to be going to prison, probably in June, and hell be there for three years. The reason he was going, she continued, is because he refused to have anything to do with the draft, or selective service, or whatever you want to call itmilitarism in general.

CBS, under newly installed president Robert Wood, butchered Baezs appearance, cutting out her explanation of the reasons for Harris being sentenced to prison.

In the end, on April 4, 1969, CBS used the fact that the Smothers brothers had not provided executives and affiliates a videotape version of an upcoming show in time for them to make changes and cuts as an excuse for firing them. Murray Kempton in theNew York Post, Bianculli writes, saluted the bravery of the brothers in bringing on guests Pete Seeger and Joan Baez, and quoted Toms self-effacing but accurate assessment of the blandness of 1960s television: We stand out, Kempton quoted Tom as saying, because nothing else is being said. Wed be moderates anywhere else.

The political and social stakes were high. The urban riots, mass protests over Vietnam and unrest on college campuses and a major strike wave in major industries, in addition to the specter of revolution in France and other parts of the world, terrified the American ruling class. It should be remembered that the Smothers Brothers and their social commentary, in a different technological and media universe, were being viewed by between 30 to 35 million people a week. The show was one of the top five American television series most watched by people under 35. The satirical and other attacks, moderate as they may have been, were unacceptable.

Bianculli acknowledges that there is no smoking gun connecting the White House to the demise of the Smothers Brothers program, but there is considerable circumstantial evidence, including Nixons general vindictiveness, his drawing up of an enemies list and his determination to eliminate critics in artistic and academic circles.

In 1973, Bianculli points out, Bob Woodward and Carl Bernstein of theWashington Postexposed the fact that a former New York City policeman had been hired to conduct more than 20 secret probes between 1969 and 1971 ordered by the White House and instigated by Watergate co-conspirators H.R. Haldeman and John Ehrlichman. One of the targets was the Smothers Brothers.

Tom Smothers refused to back down in face of the effort to suppress the series. He never apologized or exhibited repentance. He and his brother continued to perform as a duo for decades. In December 2022, the brothers announced that they would tour in 2023.

On a 1988 reunion show, they sang, to the tune of Those Were the Days, new lyrics written for the occasion by Mason Williams: Once upon a time we were on TV / Every Sunday night we knocked em dead / We stirred up trouble, so the network fired us / I guess that it was something that we said / Those were the days, my friends...

In 2008, Steve Martinone of the writers on the brothersComedy Hourpresented Tom Smothers with an Emmy award for writing on the 1968-69 series. (Smothers had excluded his name from the list of writers submitted for the award that year because he was afraid it was too volatile.)

Smothers told the audience, clearly referring to the Bush administration and the Iraq war, Its hard for me to stay silent when I keep hearing that peace is only attainable through warand theres nothing more scary than watching ignorance in action. I dedicate this Emmy, he continued, to all people who feel compelled to speak out, and are not afraid to speak to power, and wont shut up, and refuse to be silenced.

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Comedian and musician Tom Smothers dies at 86: A victim of government and corporate censorship in the late 1960s - WSWS

The artist selected to represent Poland at the 2024 Venice Biennale last year says that the new Polish governments decision to cancel his project at the worlds most prestigious exhibition is an act of censorship.

Ignacy Czwartos was selected by the previous administration led by the right-wing party Law and Justice (PiS). But in a statement issued on 29 December the ministry, under new prime Minister Donald Tusk, called off Czwartoss project.

Czwartos tells The Art Newspaper that his exhibition proposal Polish Practice in Tragedy. Between Germany and Russiawas initially selected in an open competition. On 31 October, Polands Ministry of Culture announced that it would indeed present an exhibition by Czwartos at the countrys national pavilion at the Biennale.

The announcement came at a time when Poland was waiting to see what form its next government would take, following a general election on 15 October. Czwartos was recommended by a jury convened by Warsaws Zachta National Gallery of Art.

PiS emergedas the largest party in the October election but failed to win a majority; Donald Tusk has subsequently formed a new centrist coalition government. Tusk was previously prime minister of Poland between 2007 and 2014, later becoming European Council president.

The selection took place in accordance with the legal procedures. The verdict of the competition jury was accepted by the Minister of Culture and National Heritage. The contract between me and Zachta Gallery, the institution responsible for the realisation of the exhibition has been signed, Czwartos adds.

Nevertheless, on 29 December, I received the information that the new Minister of Culture and National Heritage, Bartomiej Sienkiewicz, had stopped the project. No reasons were given to justify the decision and, what is more, this decision is contrary to the regulations in force. I perceive it as censorship. The ministry was contacted for comment.

The Polish ministry of culture said in an online statement that after analysing the competition procedures for the exhibition and after [gathering] the opinions and voices of the communities, accepted the decision not to implement the project [Polish Practice in Tragedy. Between Germany and Russia]." Poland will now be represented by Open Group, a collective that includes Yuriy Biley, Pavlo Kovach, and Anton Varga.

A spokesperson for Zacheta tells us: As per the regulations, Sienkiewicz has given the go-ahead to the back-up exhibition project, Repeat after Me, submitted by curator Marta Czy and featuring Open Group. Zachta National Gallery of Art will remain responsible for organising and producing the exhibition, as well as fully overseeing the Polish Pavilion in Venice.

In a proposal document submitted to the Biennale, Czwartoss exhibition,Polish Practice in Tragedy. Between Germany and Russia, was described as a profound reflection by a contemporary Polish artist on the tragic history of the 20th century.

Czwartos says: My project, through a set of paintings and objects, presents Polish experience of the clash between two totalitarianisms: Soviet communism and German National Socialism. The project refers also to the present day, above all to Putin's brutal attack in Ukraine. It is not an anti-European project at all, but rather it refers to the forces that had destroyed Europe in the past and today.

However, Czwartoss project faced a backlash from critics last year who said it was too closely aligned with the agenda of the Law and Justice (PiS) party. Those criticising Czwartos nomination included some former Zachta staff and three members of the museums jury: Jagna Domalska, Joanna Warsza and Karolina Zibiska-Lewandowska.

They told The Art Newspaper: To us the decision to select Ignacy Czwartos seems like a tragic Endspiel after eight years of right-wing rule... we regret that after the most open, welcoming, transnational and complex art of Magorzata Mirga-Tas [who represented Poland at the 2022 Biennale], we move to the most narrow-minded, ideologically paranoid and shameful position.

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Polish pavilion selection at Venice Biennale gets political as rejected artist cries censorship - Art Newspaper

This past Friday, an op-ed was published in The Wall Street Journal by former Israeli prime minister Naftali Bennett in which he revealed two operations carried out by Israel in Iran in 2022: an attack on an unmanned aerial vehicle (UAV) base in Iran and the assassination of a senior Islamic Revolutionary Guard Corps (IRGC) commander.

The one problem: The article was never approved by the IDF Military Censor, the unit responsible for the censoring of information that, if published, may be harmful to Israels security.

Bennett wrote, After Iran launched two failed UAV attacks on Israel in February 2022, Israel destroyed a UAV base on Iranian soil. In March 2022, Irans terror unit attempted to kill Israeli tourists in Turkey and failed. Shortly thereafter, the commander of that very unit was assassinated in the center of Tehran.

Israeli media revealed shortly after Bennetts article was released that, despite revealing sensitive information, the former prime minister did not seek permission from the censor before he filed his op-ed.

In response to the criticism, Bennett said, The problem with Iran is not the publication of the moves we made against it that were already known in the past, but that Iran attacks us through Hamas and Hezbollah and even the Houthis, and the governments of the past decade talk and speak, but do not exact a painful price from the leaders of Iran.

In other words, Bennett attempted to shift the blame from himself, without responding directly to criticism, to Prime Minister Benjamin Netanyahu.

While much can be said in the way of criticism of actions in terms of Israeli security carried out by Netanyahu and his governments especially the present one this was not the context to do so. This was the context to confess to having made an error at a time, not only of war, but of peak tensions with Iran.

A similar situation had occurred in February 2020 when Yisrael Beytenu leader Avigdor Liberman revealed that then-Mossad chief Yossi Cohen and then-IDF Southern Command head Maj.-Gen. Herzi Halevi met with top Qatari officials to work on a deal with Hamas. This news was under gag order by the censor.

That being said, there is cause for concern over the modus operandi being practiced at the Military Censor.

On a regular basis, publications within themselves find their articles shot down, while other publications have the same exact story approved for publishing.

The Journalists Union of Israel sent a letter to Military Chief Censor Kobi Mandelblit last month saying that it had recorded three recent cases in which reports by one news outlet were rejected, while the same reports were approved for other outlets.

We understand that in a security situation, certainly in wartime, it is vital to maintain national security, and the censor is one of the tools that help in maintaining this, the union said, but the accumulation of three cases within a few days raises the suspicion that there is a preference for one media outlet over others.

In one such case in August, KAN was allowed to publish that security forces had thwarted an Iranian weapons smuggling attempt into Israel from Jordan in July while all other news outlets were told this was under gag order.

Haaretz revealed a month ago that Mandelblit was being pressured by Netanyahu to block reports without national security justification, some of which related to private matters concerning the prime minister and his wife. Mandelblit disqualified the report per request, claiming that it was for the security of the couple.

This came shortly after Netanyahu attempted to pass a law that would make it illegal for the censor to approve publication of leaked cabinet meeting conversations. He claimed that the leaks endangered national security, despite the majority of the conversations being arguments between coalition members, demonstrating fissures in the emergency government.

The censor, at a time of war more than ever, is crucial for preventing security information leaks that could put Israelis in harms way. That being said, recent reports demonstrate that the ability to reject news reports is being used and abused, both for political gain and by giving preferential treatment to one publication over another.

This hurts both the medias ability to report the news and the publics right to know it.

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Wartime censorship is necessary, but must be responsible - editorial - The Jerusalem Post

Jeffrey Wright is recalling a time when he refused to censor an explicit word in a line reading for Ride with the Devil.

In the 1999 western drama, Wright, 58, played Daniel Holt, a freed Black man fighting in an informal Confederate militant unit during the Civil War, alongside a cast that included Tobey Maguire, Jewel and Skeet Ulrich.

While promoting his new movie American Fiction, Wright shared during an appearance on Entertainment Weekly's Around the Table series with costars Tracee Ellis Ross, Sterling K. Brown and Erika Alexander that he was asked to censor the N-word in a pivotal scene while re-recording dialogue for a version of the film intended to play on airplanes.

"In this scene in which he has kind of the apex of his awakening, his need to emancipate himself, he says 'being that man's friend was no more than being his n----- and I will never again be anyone's n-----,' " Wright recalled. "It's such a self empowering, empowering statement and understanding of the word."

When Wright said he completed "the airplane version of dialogue," he was asked to substitute the N-word in that scene and instead walked away from the dialogue recording session entirely.

"There were a few curse words, and they [said] the [N-word] here, we'd like to change that to Negro or whatever the choice was," he recalled. "And I said, 'Nah, nah that's not happening,' and I headed out the door to my car."

The actor then added, "They found some other [actor] to come in and do that one word, apparently, so that the airplane folk would be comfy and in the darkness of their own ignorance of the language of race."

Everett

Both Ross, 51, and Brown, 47, appeared visibly surprised by Wright's story. Ross placed her hand on Wright's shoulder and said, "No they did not!" Brown, meanwhile, could be heard reacting with, "Wow" and "Are you serious?"

Ride with the Devil, which came roughly a decade after Wright first broke into Hollywood, did not make a significant impression on audiences. It only ever grossed $635,096 in its limited theatrical release, per Box Office Mojo.

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Wright shared the story as he and his costars spoke to the themes of America's relationship with race at play in American Fiction. He said the anecdote relates to "understanding the meaning or meanings of the N-word," as it is used in the new movie.

Bryan Bedder/Variety via Getty

In American Fiction, Wright plays author Thelonious "Monk" Ellison, described in an official synopsis as "a frustrated novelist whos fed up with the establishment profiting from 'Black' entertainment that relies on tired and offensive tropes."

"To prove his point, Monk uses a pen name to write an outlandish 'Black' book of his own, a book that propels him to the heart of hypocrisy and the madness he claims to disdain," the synopsis adds, stating that the film "confronts our cultures obsession with reducing people to outrageous stereotypes."

American Fiction is in theaters now.

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Jeffrey Wright Says a Replacement Actor Dubbed His Lines When He Refused to Censor the N-Word - PEOPLE

Press Releases | January 04, 2024

(Washington, DC) Judicial Watch announced today that it filed a Freedom of Information Act (FOIA) lawsuit against the Department of Homeland Security (DHS) for failing to respond to an October 11, 2023, FOIA for all records regarding Judicial Watch and its President Tom Fitton held by DHS Cybersecurity and Infrastructure Security Agency (CISA) (Judicial Watch Inc. v. U.S. Department of Homeland Security (No. 1:24-cv-00003).

The request specifically asked that the search for responsive records include email accounts of CISA officials publicly implicated in censorship operations.

On November 6, 2023, the House Judiciary Committee released a report detailing how the Department of Homeland Securitys (DHS) Cybersecurity & Infrastructure Security Agency (CISA) and the Global Engagement Center (GEC, within the State Department) coordinated with Stanford University and other entities to create the Election Integrity Partnership to censor Americans speech in the lead-up to the 2020 election. Judicial Watch President Tom Fitton is listed as a target of this censorship operation.

Judicial Watch and I have been censored again and again by government and Big Tech, Judicial Watch President Tom Fitton said. That we had to file a federal lawsuit to get basic information about this targeting is another sure sign that CISA has been up to no good.

Judicial Watch has been in the forefront of uncovering government efforts to censor free speech and suppress opposition.

On November 9, 2023, Judicial Watch reported that CISA records show government involvement in the EIP [Election Integrity Partnership] pressure on Google, Twitter, Facebook, TikTok, Pinterest, Reddit and other platforms to censor disinformation.

In October 2023, Judicial Watch sued the Department of Justice (DOJ) for records of any payments made by the FBI to Twitter (now known as X). The payments were disclosed in internal Twitter documents (the Twitter Files) made available by Elon Musk to journalists.

Also in October, Judicial Watch sued the U.S. Office of the Director of National Intelligence (ODNI) for records concerning censorship of social media users.

In April 2023, Judicial Watch filed two lawsuits against the U.S. Department of Justice and other federal agencies for communications between the agencies and Facebook and Twitter regarding the governments involvement in content moderation and censorship on the social media platforms.

In a separate lawsuit file in June 2023, Judicial Watch sued DHS for all records of communications tied to the Election Integrity Partnership. Based on representations from the EIP (see here and here), the federal government, social media companies, the EIP, the Center for Internet Security (a non-profit organization funded partly by DHS and the Defense Department) and numerous other leftist groups communicated privately via the Jira software platform developed by Atlassian.

In February 2023, Judicial Watch sued the U.S. Department Homeland Security (DHS) for records showing cooperation between the Cybersecurity and Information Security Agency (CISA) and social media platforms to censor and suppress free speech.

Judicial Watch in January 2023 sued the DOJ for records of communications between the FBI and social media sites regarding foreign influence in elections, as well as the Hunter Biden laptop story.

In September 2022, Judicial Watch sued the Secretary of State of the State of California for having YouTube censor a Judicial Watch election integrity video.

In May 2022, YouTube censored a Judicial Watch video about Biden corruption and election integrity issues in the 2020 election. The video, titled Impeach? Biden Corruption Threatens National Security, was falsely determined to be election misinformation and removed by YouTube, and Judicial Watchs YouTube account was suspended for a week. The video featured an interview of Judicial Watch President Tom Fitton. Judicial Watch continues to post its video content on its Rumble channel (https://rumble.com/vz7aof-fitton-impeach-biden-corruption-threatens-national-security.html).

In July 2021, Judicial Watch uncovered records from the Centers for Disease Control and Prevention (CDC), which revealed that Facebook coordinated closely with the CDC to control the Covid narrative and misinformation and that over $3.5 million in free advertising given to the CDC by social media companies.

In May 2021, Judicial Watch revealed documents showing that Iowa state officials pressured social media companies Twitter and Facebook to censor posts about the 2020 election.

In April 2021, Judicial Watch published documents revealing how California state officials pressured social media companies (Twitter, Facebook, Google (YouTube)) to censor posts about the 2020 election.

Judicial Watch has produced a four-part documentary, Censored and Controlled, that details the coordinated effort by the FBI and other government agencies and Big Tech to censor and suppress information on topics such as Hunter Bidens laptop, Covid-19, and election debates.

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Judicial Watch Sues Biden Censorship Agency for Records Targeting Judicial Watch and Its President Tom Fitton - Judicial Watch