An Atheist in the Foxhole by Joe Muto: A lot of fun at Fox News, but somewhat light on revelation

Joe Muto, a self-described liberal and Obama supporter, joined Fox News in 2004. Nicky Woolf finds his insider exposé insightful, if a little underwhelming.

An Atheist in the Foxhole
Joe Muto
Dutton Books, 336pp, $26.95

Fox News, launched by the former Nixon strategist Roger Ailes in 1996, now boasts a larger audience than its two closest competitors – MSNBC and CNN – combined. It is also astonishingly partisan. Switch on during prime time and you see commentators raging on issues straight out of the Tea Party playbook: mainly, the evils of big government and the Obama administration.

A self-described liberal and an Obama supporter, Joe Muto joined Fox in 2004 as a production assistant, responsible for minor tasks such as running scripts and organising footage for broadcast. By the time he was outed as an insider for Gawker last year, he was an associate producer on The O’Reilly Factor, the prime-time vehicle for Fox’s biggest alpha dog and the highest-rated show in US cable news.

Muto writes with an engagingly light touch and the book is an amusing account of a kid from Ohio with dreams of New York, making his way to the big city, determined to get a job in media any way he can. He neatly avoids the lure of relentless smugness that Toby Young falls victim to in How to Lose Friends & Alienate People and often wrestles with the morality of the company and his place within it.

Foxhole is a lot of fun but the whimsy doesn’t hide that the book is somewhat light on revelation. When Muto points out the rank hypocrisy of Fox’s “fair and balanced” slogan, he isn’t surprising anybody. Jon Stewart, on The Daily Show, skewers its contradictions on a regular basis. It isn’t shocking to learn that network personalities such as Megyn Kelly adopt “a highly aggressive arch-conservative persona” to advance their careers or that producers don’t allow many jokes at George W Bush’s expense to air. One anecdote, hyped by Muto as “both the apex and the nadir of my post-crime show drinking career”, ends anticlimactically with two unnamed producers getting caught smoking a joint.

Muto’s insider perspective only becomes useful halfway through, when he arrives at The O’Reilly Factor. Anecdotes follow (he describes O’Reilly asking his staff what “teabagging” is, for example). Nonetheless, in May, Muto pleaded guilty in a Manhattan court to misdemeanor charges and agreed to pay a $6,000 fine and serve 200 hours of community service.

In a year when the Guardian’s NSA leaks are destabilising the US security establishment, Muto’s theft of a couple of behind-thescenes videos seems pretty mild. He spends almost as much time praising his former colleagues as he does condemning them: the most resounding revelation is that he admires and even likes O’Reilly.

“What separates Bill from the hacks like Hannity,” he writes, “is that he’s not an ideologue. Sure, he’s ideological . . . but Bill, I would argue, is more intellectually honest. He’ll admit he’s wrong . . . It’s more than a lot of other people at Fox would do.”

Where Muto shines is in his vivid descriptions of day-to-day life at Fox; exhilaration at being the first to break a news story, even by 30 seconds; going to football games with the teetotal O’Reilly; or how it feels to stage an on-camera “gotcha” moment.

As his brief and undistinguished 36-hour career as a whistleblower shows, Muto isn’t in the revelation game. His book gives an insight not into the dark and sinister conspiracy that may or may not be at work behind the scenes at Fox News but into the lives of its people: some hard-working, some lazy, some ideological, some pragmatic, some sinister – but most endearingly human.

Bill O'Reilly opposite Jon Stewart. Muto's insider status becomes useful when discussing his time working on The O'Reilly Factor. Photograph: Getty Images.

Nicky Woolf is a writer for the Guardian based in the US. He tweets @NickyWoolf.

This article first appeared in the 08 July 2013 issue of the New Statesman, The world takes sides

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What’s it like to be a human rights activist in post-Pussy Riot Russia?

It is five years since the feminist punk collective crashed Moscow’s Cathedral in a performance that got some of them jailed.

On 21 February 2012, five brightly-dressed members of Russian feminist punk collective Pussy Riot took to the alter of Moscow’s Cathedral of Christ the Saviour to protest links between the Russian Orthodox Church and its “chief saint” Russian President Vladimir Putin. “Virgin birth-giver of God, drive away Putin!” they shouted from beneath now-iconic balaclavas.

The “Punk Prayer” was both a political statement and a powerful feminist message. Six months later, a judge sentenced three of the girls to two years in prison (one was rapidly released) on a conspicuously apolitical conviction of “hooliganism motivated by religious hatred”.

These past five years, Russia’s involvement in crises in Syria and Ukraine has cast a dark shadow over relations with an increasingly cleaved-off West. The year 2015 saw opposition politician Boris Nemtsov murdered some 500 metres from the Kremlin walls.

Domestically, society has constricted people challenging the political status quo. However, low-key initiatives retain traction.

“Artists are simply silent,” says Russian curator and gallerist Marat Guelman, who left for Montenegro in early 2015. “It is better not to say anything about politics, it is better to bypass these issues.”

This is a major difference from five years ago. “Despite persecution against Pussy Riot, people were not afraid to defend them,” he says. “It was a better time.”

There are three topics artists and curators now avoid, says artist and feminist activist Mikaela. One is “homosexuality . . . especially if it involves adolescents”, she says, citing a 2015 exhibit about LGBT teens called “Be Yourself”. Authorities closed it and interrogated the galley owner. “Then the war in Ukraine,” she says. “Russian Orthodoxy is the third topic you cannot tackle.”

Marianna Muravyeva, a law professor at Moscow’s Higher School of Economics, says that aside from the government completely discarding human rights rhetoric, the most significant legal change is the “gay propaganda” law and “legislation against those who insult the feelings of believers”.

The latter came into force in July 2013. Since then, the Orthodox Church has made deeper societal incursions. Muravyeva says that the secular nature of the Soviet Union led to residual feelings of guilt towards the Church – and now it uses that “capital”.

Mikaela observes a “cultural expansion”, citing a new TV channel, radio station and three new churches in her neighbourhood alone.

Orthodox activist attacks on exhibits have increased. In August 2015, they targeted an exhibit at one of Moscow’s most prominent art galleries. Its perpetrators were found guilty of “petty hooliganism” and handed a 1,000 rouble fine (£14 by today’s rates).

“Any word written in Old Slavonic lettering is spirituality,” says Guelman. “Any work of art by a modern artist . . . depravity, sin, the impact of the West.”

Similar groups are active across Russia, and galleries err on the side of caution. Perpetrators, while self-organised, believe their actions to be state-sanctioned, says Muravyeva. They are influenced by “the kinds of messages” conveyed by the government. 

Nowadays, self-organisation is integral to artistic expression. Mikaela witnessed educational institutions and foreign foundations telling artists “we are with you”, “we know you are smart” but they cannot host political works for fear of closure. Not knowing where the “invisible line” lies foments uncertainty. “It’s self-censorship,” she says.

Dissident artist Petr Pavlensky, notorious for nailing his scrotum to the Red Square in late 2013 (“Fixation”) and setting fire to the doors of the FSB in 2015, advocates personal agency.

“Fixation” was about a sense of helplessness in Russia that must be overcome; he tried to convey the amount of power the castrated have. “Pavlensky says, ‘Look, I have even less than you’,” says Guelman. The artist and his partner Oksana Shalygina are now in France intending to seek asylum after sexual assault accusations.

Some rise to the opportunity, such as Daria Serenko. She rides the Moscow Metro carrying political posters as part of Tikhy Piket or “Silent Protest”. Her 12 February sign depicted a girl with her head in her arms inundated by the comments received if a women alleges rape (“she was probably drunk”, “what was she wearing?”).

However, as a lone individual in a public space, she experienced hostility. “Men, as always, laughed,” she posted on Facebook afterwards. Earlier this month an anonymous group pasted painted plants accompanied by anti-domestic violence messages around Omsk, southwestern Siberia.

Their appearance corresponded with Putin signing legislation on 7 February decriminalising domestic abuse that causes “minor harm”. While it doesn’t specifically mention women, Muravyeva says that the message “women can manage on their own” is a “disaster”.

On 27 January, after Russia’s parliament passed the final draft, pro-Kremlin tabloid Life released a video (“He Beats You Because He Loves You”) showing how to inflict pain without leaving a mark.

Heightened social awareness is aided by online networks. Since “Punk Prayer”, the proportion of people using the internet in Russia has exploded. In 2011, it was 33 per cent, while in 2016 it was 73 per cent, according annual Freedom House reports. Authorities have concurrently exerted stronger controls over it, eg. targeting individual social media users through broadly-worded laws against “extremism”.

Last July, the hashtag #ЯНеБоюсьСказать (“#IamNotAfraidtoSay”) went viral. Women documented experiences of sexual violence. Russian organisation Сёстры (“Sisters”), which helps survivors receive psychological support, receives “250-350” crisis calls annually.

“Over the past year, the number of applications increased,” because of the hashtag, it says. New media platforms Meduza and Wonderzine also emerged as more “socially aware” outlets. Previously “all we had was LiveJournal communities,” Mikaela says.

Bottom-up challenges are partially due to a generational shift. “Nobody bothered before,” says Muravyeva. “Those children who were born after ‘95 . . . they were already born in a very free society – they don’t know what it is to be afraid, they don’t know what it is to be self-censoring, what it is to be really scared of the state.”

Aliide Naylor is a British journalist and former Arts and Ideas Editor of The Moscow Times.

> Now read Anoosh Chakelian’s interview with Nadya Tolokonnikova of Pussy Riot