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Home»News»Global Free Speech»CPJ urges clarity on DHS secretary nominee Markwayne Mullin’s press freedom views
Global Free Speech

CPJ urges clarity on DHS secretary nominee Markwayne Mullin’s press freedom views

News RoomBy News Room6 months agoNo Comments3 Mins Read2 Views
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CPJ urges clarity on DHS secretary nominee Markwayne Mullin’s press freedom views
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Washington, D.C., March 19, 2026—The Committee to Protect Journalists urges lawmakers to ask Sen. Markwayne Mullin about protecting media freedom in the United States in advance of a full Senate confirmation vote on his nomination for Department of Homeland Security (DHS) secretary given the progressively active role the department has taken in suppressing freedom of the press. 

“The Department of Homeland Security has increasingly been using its power to target journalists in an attempt to silence coverage with which it does not agree,” said CEO Jodie Ginsberg. “It is imperative that Congress hold Sen. Markwayne Mullin accountable for stopping this harmful trend of DHS overreach and ensuring the department respects journalists’ First Amendment rights.” 

Mullin has previously made social media comments about using violence against “fake news” media. He later said in a post on X that he was joking. During the nomination hearing on Wednesday, Mullin was asked about other past comments condoning political violence.

CPJ has been documenting the ways in which DHS has been used to curb freedom of the press during the second Trump administration: 

  • Journalist Estefany Rodríguez was arrested by DHS agents, despite being in the country legally at the time of her arrest. Her lawyers have argued that her arrest was a violation of her First, Fourth and Fifth Amendment rights, stating that her journalism was a motivating factor in her detention. Rodríguez was granted a $10,000 bond by an immigration judge, though remains in ICE custody at the time of publication. 
  • Journalists Don Lemon, Georgia Fort, and Junn Bollmann were charged with felony and misdemeanor charges in relation to their coverage of an anti-ICE demonstration at a St. Paul, MN church. Lemon and Fort have separately pleaded not guilty; Bollmann’s hearing has not taken place yet. 
  • Journalists have reported being targeted by ICE agents while covering anti-ICE protests in Los Angeles last year, and the killings of two anti-ICE protesters by ICE agents in Minneapolis earlier this year have increased concerns about the safety of covering these demonstrations. 
  • Immigration officials detained Chinese citizen journalist Guan Heng during an August 2025 raid in New York and sought his deportation to a third country, Uganda. Guan had previously sought asylum in the United States after publishing videos documenting Uyghur detention camps. Following outcry from civil society groups, including CPJ, he was ultimately granted asylum.
  • Atlanta metro-area journalist Mario Guevara, who was deported to his native El Salvador, despite being in the country legally at the time of his detention. Guevara was initially detained by local law enforcement while covering a local anti-Trump protest. He was then transferred to immigration authorities and deported after over 100 days in law enforcement detention. 
  • Allistair Kitchen, an Australian writer who has reported on Substack, was denied entry into the United States after border officials at the Los Angeles International Airport searched his phone and questioned him about his views on the Israel-Gaza war. Kitchen said that interrogators asked him about his views on a one-state, versus two-state solution in relation to Israel and Palestine.

Last year, CPJ issued its first-ever travel advisory for journalists entering the United States, which included warnings about searches of electronic devices.

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The BBC clearly sees the value of television series That Mitchell and Webb Look. Marking the 20th anniversary of its original screening, the Beeb has re-released the series on iPlayer. But – and there is very often a “but” with these things – they’ve removed around 11 sketches from the BAFTA award-winning show. The official word is that these sketches don’t “work today”, which is polite speak for “they may cause offence”. The episodes singled out include scenes featuring a battle reenactment with characters in blackface, a contestant on a show wearing a burka and a lost tribe” in a garden centre. These sketches set out to challenge stereotypes, not to reinforce them; but 20 years on, this distinction seems to have been lost along the way. I’m a bit uncomfortable about this. I find it infantilising, to say the least. Can’t we trust audiences to make up their own minds, to switch off if they find the sketches in question unpalatable? Does the BBC think that we are just passive consumers, unable to disaggregate the mocking of racism from racism itself? These sketches set out to challenge stereotypes, not to reinforce them This act of censorship is distorting – of the shows, whose narratives and rhythms were built to include these sketches, and more broadly too. Conversations we were having 20 years ago have been erased, as if to suggest that they never happened. But they did! And with this erasure, the opportunity for thoughtful engagement and learning from our past is gone. “Let’s just pretend we were all lovely 20 years ago. It’s better that way” seems to be the message. Speaking as a minority myself, I find that knowing the nasty stuff that people said before – and indeed, still say today – is much more useful than pretending it never happened. This approach, I think, is also inconsistent. What it reveals is a cherry-picking (intended or not) of the groups that we can mock, and those that we can’t. Let’s face it, gender stereotypes are rarely deemed to have aged beyond the pale – if that were the case, we would have to wave goodbye to half the television made before the mid-2010s. Suppression like this sends a bad message to artists, namely that what they’re creating today may hold less value tomorrow. Or, even worse, that future audiences may deem them bigots – that Sword of Damocles hovering over the heads of any creative paying attention to the discourse of the moment. Suppression like this sends a bad message to artists The BBC’s decision reaffirms a broader trend. In 2020, Little Britain was removed from the iPlayer platform for similar reasons. It has since been reinstated – minus some sketches. Meanwhile, the UK’s arts space more broadly is seeing a retreat to the land of “safe”, as Index recently revealed in a year-long investigation into self-censorship in UK theatre. The BBC, it must be said, does remarkable stuff. The ongoing podcast investigation into the disappearance of US journalist Austin Tice is just one example. But this does not mean, however, that they don’t sometimes get it wrong. Chopping at That Mitchell and Webb Look is one example. Sure, the removal of the material isn’t the life-or-death story that Index often works on. Sure, Mitchell and Webb aren’t the faces of persecuted artists – they have huge platforms and agreed to the changes themselves. Still, one can’t help but think that the decision came from a place of conservatism, perhaps even fear. This is weak and dispiriting, indeed the very opposite of what enables creativity in the arts. We shouldn’t be encouraging this cultural timidity. Rather, we should harness culture and creativity as the starting points of a conversation about our here and now. That’s what the arts are for, after all. READ MORE

5 days ago
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