The New York Times obituary for Seymour Topping, who died Nov. 8 at age 98, accurately summarized the 1969-1986 reign at the newspaper by this No. 2 man with legendary editor A.M. Rosenthal. We're told the team "above all prized high standards of reporting and editing, which demanded fairness, objectivity and good taste in news columns free of editorial comment, political agendas, innuendo and unattributed pejorative quotations."

That was not just a farewell to "Top" but to a fading ideal in American journalism that's steadily supplanted by opinionated and entertaining coverage that wins eyeballs, ears, clicks, digital subscribers -- and profits. Public trust in the news media is eroded to an alarming degree while social media inflame everything, reporters' tweets expose their biases and Donald Trump's attacks accompany media hostility.

This growing trust deficit shapes all aspects of our business, the religion beat included.

A lengthy Times piece Nov. 13 about why 2020 polls were so misleading said Republicans were wary about participating because Trump "frequently told his supporters not to trust the media."

That’s an easy answer. But is suspicion entirely the president's doing? Wholly apart from Trump smears ("the enemy of the American People!"), did mainstream media treatment of the Trump movement, Republicans and political, cultural and religious conservatives sew distrust? What's ahead if Trump succeeds in controlling the GOP and his 73 million voters through 2024?

Vest-pocket history: Starting in 1988 with Rush Limbaugh's outspoken show, conservative talk radio pretty much saved the AM industry. Fox News Channel and MSNBC arrived in 1996, with Fox partially imitating Limbaugh while MSNBC veered ever more leftward, eventually followed by pioneer CNN (founded in 1980). The Times, financially pressed dailies and broadcast networks were tempted toward a more cautious slant.

But with the Trump Era, traditional restraints all but vanished. This advocacy journalism approach — known as “Kellerism,” here at GetReligion — became the norm on coverage of moral and cultural topics in American life.

That brings us to last January's Pew Research Center report "U.S. Media Polarization and the 2020 Election: A Nation Divided." Media personnel should delve into these data on how 12,043 respondents view 30 varied news outlets.

The Times, so influential among the cultural elite, educators, policy-makers and journalists, exemplifies the concrete news "silos" into which Americans now sequester themselves.

I was never addicted to the X-Files back in its classic era, but I was almost always aware of what was going on in the series because of updates from my Milligan College students -- especially in my "Exegete the Culture" senior seminar on faith and mass media.

Religious issues kept showing up in the show's believer-doubter format, with plots built on a never-ending search for the supernatural. One semester, a bright youth-ministry major wrote a brilliant paper -- the curricula for a weekend retreat for high-schoolers -- based on three X-Files episodes that focused on prayer, healing and life after death. The show was asking lots of interesting questions, which had to be coming from somewhere.

So I wasn't surprised that the recent Rolling Stone profile of X-Files creator Chris Carter (linked, of course, to the six-episode Fox reboot) explored some religious themes. I was also -- alas -- not surprised when a key religion fact got mangled. More on that in a minute.

But, for starters, wouldn't you like to know more about the roots of the Amazon project mentioned in this section of the story?

Though Carter doesn't admit this, his return to Hollywood (not counting a second X-Files film he wrote in 2007) must have been disappointing for the man who ruled the medium a decade earlier. A series about the Salem witch trials that he created for Showtime never made it to air. Same with an Area 51 drama he worked on for AMC. And ditto for a conspiracy thriller, Unique,which he developed at Fox.

But the toughest hit was his 2014 Amazon pilot, The After, a Sartre-meets-Dante serial drama set in the intersection of Los Angeles and Hades.