The problem isn’t Hunter Biden—it’s Joe—as major media outlets may be discovering, sort of, with the White House’s absurd intervention in the younger Mr. Biden’s latest career as a budding Van Gogh.
In fact, the intervention smells like a scheme dreamed up by Hunter himself, designed to call attention to his connection to the president, advertise it and enable it, while pretending to do the opposite.
For details, see a long account on the front page of Friday’s Washington Post. Under the plan, a New York gallery will keep secret the identities of those paying up to $500,000 for his novice pieces, but of course this wouldn’t stop the buyer from letting Hunter know who just bought his art or from turning up later as Hunter’s guest at a White House event.
All of this is magnificently obvious on its own terms, but even more so in light of the ludicrously detailed, well-documented revelations from the Hunter Biden laptop published over the last nine months by the New York Post and Britain’s Daily Mail.
To avoid knowing the truth so you don’t have to report it is not good reporting. This has been the approach of other media, or was until last month when the Washington Post’s resident “fact checker,” Glenn Kessler, in a hilariously neurotic piece, apparently forced on him only because of his previous swallowing of Biden denials, finally confirmed some of the New York Post’s reporting.