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Home»News»Global Free Speech»‘I’m displaced too’: Lebanese journalists cover war after fleeing home
Global Free Speech

‘I’m displaced too’: Lebanese journalists cover war after fleeing home

News RoomBy News Room7 months agoNo Comments5 Mins Read2 Views
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Beirut, March 18, 2026 – In early March, as the Iran war spread across the Middle East and Israeli strikes rained down on Lebanon, many journalists covering the country’s growing displacement crisis found themselves living it.

For freelance video journalist Hadil Iskandar, who has worked for German broadcaster Deutsche Welle and pan-Arab outlet Daraj Media, it was the second time in under two years that she found herself packing her belongings and fleeing her home in the Lebanese capital’s southern suburb of Dahieh.

After Israeli attacks escalated across Lebanon in early March, nearly a million people fled their homes — including the journalists covering the crisis. Reporters from parts of Beirut and southern Lebanon told the Committee to Protect Journalists that displacement has disrupted their ability to work, forcing them to report from temporary housing while worrying about their families, their homes, and their safety. 

Having fled during the 2024 war, for them it was a repeated experience of displacement, blurring the line between covering the unfolding humanitarian crisis and living through it.

“The displacement of journalists in Lebanon disruption has broader implications for press freedom,” said CPJ Regional Director Sara Qudah. “When journalists are forced from their homes, their ability to report safely, accurately, and consistently is severely undermined — limiting the flow of independent information from conflict zones at the time when it is most needed.”

Despite the upheaval, Iskander still felt she had a job to do.

“The first two days were very difficult for me, to the point that I couldn’t produce a single story,” said Iskandar, who initially took shelter with family members at an aunt’s house before searching for a more permanent place to stay. “There was a huge distraction between going to the ground, seeing people, doing my job, and at the same time contacting people to secure a house.”

Covering families who had lost their homes was especially painful, she said, feeling an affinity with them. “I’m one of the displaced too.”

Movement

Displacement has reshaped how the journalists work. Mohamed Ghassani, a journalist and editor at An-Nahar newspaper, fled his home in the southern coastal city of Tyre at around 3 a.m. with only his work laptop and identification papers. It took him seven hours to reach safety, with a bottleneck of traffic built up from civilians fleeing.

Movement has continued to be a major challenge. Since leaving home he has not been able to go to the office or be physically present with colleagues, and his work has shifted entirely to online communication, WhatsApp and phone calls. And if a story requires him to be physically present, getting there has become much harder. 

“No matter how much someone tries not to be affected and to continue working normally, you can’t in these conditions,” he told CPJ.

Psychological toll

Fatima Shoukair, a freelance journalist who contributes to Raseef 22, said she hasn’t felt fully safe in her home since the 2024 war with Israel.  She kept a bag containing identity papers, savings, and essentials in the car at all times in case a warning was issued while she was away and unable to return. 

On the night of the recent strikes, the bombing was so close that she thought she might not be able to get out in time.

Shoukair described the toll as largely psychological. Displacement and direct exposure to the attacks have made her work “extremely exhausting.”

“I can’t focus, and I don’t have the ability to produce,” she said.

So far, she has not been able to complete a full story and has continued only with administrative tasks. Without the focus, energy and stable space needed to work, she said she no longer sees events from a professional distance but “through the eyes of a victim.” Journalists rarely have the luxury of stepping away from the news even when they are living through it, she added, making it difficult to continue reporting.

No space to work

For Valentine Nasser, a journalist and director of the platform Silat Waseel,  displacement meant losing the space that made reporting possible. Forced to leave her home for the second time during the war, she moved with her family from the southern city of Tyre to a rented room in Beirut, a six-hour journey amid the build-up of people fleeing.

Constant movement has made it difficult to keep working. When an evacuation warning was issued while she was reporting, she had to continue working from her car on the way to Beirut, “with no electricity and no way to charge a laptop or phone.” 

The bombardment and tension make concentration difficult, she said, but the greater loss was the quiet workspace she had built before being displaced. “Today I lost that space.”

Ali Al Ahmar, a reporter for pro-Hezbollah broadcaster Al-Mayadeen TV, told CPJ he has found it difficult finding accommodation after fleeing his village, Kfarreman, in southern Lebanon’s Nabatieh area. He eventually managed to secure a room for his family despite high rent prices and the large number of displaced people flooding to the capital. 

Ahmar said, to him, displacement is not only about losing a house. “It means losing the basic infrastructure a journalist needs to work: safety, rest, stable connection, and an environment that helps you think.”



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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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