{
  "$type": "site.standard.document",
  "bskyPostRef": {
    "cid": "bafyreidp6zm6kuw6vpin27suqohovuoo2raecsmq7k2jqly42iqxsllqna",
    "uri": "at://did:plc:sl2hrcwo6voaorzsr26d3bo2/app.bsky.feed.post/3mlrchcuk2vh2"
  },
  "coverImage": {
    "$type": "blob",
    "ref": {
      "$link": "bafkreigtu4teufpt4gc6hsz425nzdehlfqv3l7m4rfuiq3lijdvoolqabu"
    },
    "mimeType": "image/png",
    "size": 1975915
  },
  "description": "10 News Stories They Chose Not to Tell You",
  "path": "/your-daily-ten-10-2026-085/",
  "publishedAt": "2026-05-13T22:00:10.000Z",
  "site": "https://goodoil.news",
  "tags": [
    "Read More",
    "Subscribe now"
  ],
  "textContent": "**This is edition 2026/085 of the _Ten@10_ newsletter.**\n\nHi all,\n\nThis is the Ten@10, where I collate and summarise ten news items you generally won't see in the mainstream media.\n\nEnjoy!\n\n* * *\n\n## 1. AUT’s Little Manifesto of Hatred\n\n _Ani O’Brien_\n\n  * 📰 AUT's student magazine Debate has published **a poem by P. Walters calling for \"Death to whiteness,\" \"Death to Zionists,\" \"Death to colonisers,\" and \"Death to the Crown.\"**\n  * ⚖️ Commentator Ani O'Brien argues **\"Death to Zionists\" functions as a socially permissible proxy for \"Death to Jews,\"** granting the author plausible deniability through coded language.\n  * 🔍 O'Brien applies an asymmetry test: **no New Zealand institution would tolerate repeated calls for \"death to blackness\" or \"death to brownness,\"** yet the same standard is not applied here.\n  * 👥 The poem places **\"Zionists\" and \"billionaires\" alongside rapists and paedophiles,** a deliberate guilt-by-association tactic O'Brien identifies as classic dehumanisation propaganda.\n  * ⚠️ O'Brien draws a direct parallel to **the online glorification of Luigi Mangione, who murdered UnitedHealthcare executive Brian Thompson,** noting the poem shares the same reductive dehumanisation of targets.\n  * 🔥 The poem's repeated \"death to\" structure is described as **creating a psychological permission structure in which violent fantasy becomes framed as moral virtue.**\n  * 🏛️ Birth certificates, laws, passports, contracts, diplomas, and written records are all framed in the poem as **manifestations of \"white supremacy culture.\"**\n  * 📰 O'Brien describes the poem as **aesthetically barren, talentless, and morally ugly,** comparing it to activist Instagram slides emptied onto a page.\n  * 🌿 The poem invokes academics **Audre Lorde and Tema Okun alongside Lady Gaga and Lana Del Rey lyrics,** which O'Brien says function only as ideological badges rather than original thought.\n  * 👥 O'Brien notes the poem's author and similar activists **typically emerge not from genuinely dispossessed classes but from highly educated, globally privileged strata of society.**\n  * 🔥 \"White supremacy culture\" is treated throughout the poem as **self-evident truth rather than a contested pseudo-academic concept,** according to O'Brien's critique.\n  * ⚠️ O'Brien warns the poem follows **one of the oldest mechanisms of political radicalisation: first dehumanise, then moralise the hatred.**\n  * 📊 O'Brien characterises the poem's rage as reflecting **resentment of the five percent toward the 0.1 percent,** rather than genuine solidarity with the dispossessed.\n\n\n\nRead More\n\n### This post is for subscribers only\n\nBecome a member to get access to all content\n\nSubscribe now",
  "title": "Your Daily Ten@10 - 2026/085",
  "updatedAt": "2026-05-13T22:00:09.880Z"
}