Walter Marsh

In Michael Wolff’s telling, the final stretch of Rupert Murdoch’s seventy-year media career plays out like a ghost story. When, in 2016, Rupert’s sons, Lachlan and James, vanquished Roger Ailes – disgraced architect of Fox News – in a rare moment of fraternal unity, the money-printing reactionary machine Ailes had built for their father kept on mutating and metastasising, in ways that would haunt the company and the Murdoch family. Fresh from writing a blockbuster trilogy documenting the Trump presidency, in The Fall Wolff braves the ‘nest of vipers’ that is the late-stage Fox News empire with a deep contact list and a strong stomach. Gone is the rare access to Rupert himself that informed The Man Who Owns The News (2008), but, fortunately for Wolff and his readers, the largely unnamed vipers of The Fall are a chatty bunch.

There is every reason for wanting to get to the bottom of Rupert Murdoch. It is arguable that he has done more than any modern individual to shape public life, policy, and conversation in those parts of the Anglosphere where his media interests either dominate or hold serious sway. His influence is richly textured, transformative. Beyond bringing a populist insouciance to his host of print and television properties, he is also unafraid of using his reach as a political weapon, a tactic used with such vehement ubiquity that governments pre-emptively buckle to what they suppose is the Murdoch line. Debate is thus distorted and circumscribed. Public anxiety is co-opted as a cynically exploited tool of sales and marketing.