Imagine a newspaper editor who treats foreign suffering like serialized drama—pick the worst images, personalize the villains, and sell urgency until the public demands action. That’s Hearst: feelings over facts, spectacle over nuance.

He’d frame Venezuela not as a complicated crisis but as a nearby horror that threatens us, turning every tragedy into moral proof we must “do something.” It’s not about policy for him—it's about what sells. Scary, but oddly familiar.