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Home»News»Global Free Speech»Georgian authorities probe press organizations under foreign funding laws
Global Free Speech

Georgian authorities probe press organizations under foreign funding laws

News RoomBy News Room12 months agoNo Comments2 Mins Read3 Views
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New York, October 3, 2025—The Committee to Protect Journalists calls on Georgian authorities to repeal restrictive new laws covering foreign donor grants as Georgian authorities open investigations into the funding of at least five independent news outlets and a leading press association.

Earlier this year, the Georgian Dream party overhauled legislation governing the foreign donor funding on which many independent media outlets rely. The current probes reportedly have been launched under amendments to the law that ban foreign grants without government approval. Since May, a separate foreign funding law, the Foreign Agents Registration Act, has carried penalties of up to five years in prison.

The Georgian Charter of Journalistic Ethics (GCJE), the press association under investigation, described the proceedings as “the first practical step in using new legislation to destroy [us].”

“It is no surprise that the first targets of repressive new funding laws are organizations known for their independence or reporting on sensitive topics,” said Gulnoza Said, CPJ’s Europe and Central Asia program coordinator. “Georgia should repeal restrictive amendments to the law on grants, as well as the Foreign Agents Registration Act, and allow independent media to operate without harassment.”

Over the past week, Georgia’s Anti-Corruption Bureau has sent extensive information requests under the law on grants to five outlets, according to local news website OC Media: 

  • iFact, an investigative journalism platform reporting on corruption and abuses of power
  • Mtis Ambebi, whose founder, Gela Mtivlishvili, has repeatedly been smeared by ruling party officials and targeted by pro-government intimidation campaigns
  • Plangvis Detektori, which covers corruption and public governance, and Realpolitika, which covers international politics
  • Project 64, a social media-based explanatory journalism project

GCJE and some of the affected outlets said they had stopped receiving foreign grants following the introduction of the new laws, citing fear of government retaliation. Several said they had refused to provide the requested information without a court order.

Some of the targeted outlets told OC Media they were now working voluntarily or with limited salaries in the absence of foreign grants, with one describing their operations as “in survival mode” and another saying they had “never faced a crisis of this scale.” 

The restrictive laws on foreign funding are part of a sharp decline in press freedom under the Georgian Dream party, detailed by CPJ in a recent submission to the United Nations.

CPJ emailed the government’s Anti-Corruption Bureau for comment but did not immediately receive a reply.

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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

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