All posts by Gary C. Woodward

Resisting The Fabulist Impulse in Television News

breaking news image wikipediaAt the rate we are going, all of us will have to suffer the fate of seeing our names–the forenames our parents so thoughtfully contemplated–appropriated to identify some crummy storm that has found its way to Wichita.

A tendency to see everything as a crisis is a prime symptom of what mental health professionals sometimes diagnose as a “borderline personality.”  Obsessions over supposed disasters consume persons with this tendency, which converts relatively minor concerns into major personal crises.

In television news—especially its forms on the major 24/7 cable outlets—we see the same pattern: too much of an obsession with one concern at the cost of a more varied news agenda. Anyone looking at this journalism these days will notice recurring patterns of repetition, overstatement and willful simplification that make it distinctly different from the nuanced exchanges most Americans have every day.  Sometimes this overcoverage is just silly, as with the compulsive over-coverage of deflated footballs in the NFL, or there is endless piling-on about a minor story such as Brian Williams inflated claims of danger after reporting from Iraq.

For sure, the chance to roll out the“Breaking News” slide pumps a network’s ratings.  CNN President Jeff Zucker seems to have believed that full and continuous days of coverage of the Malaysian Airliner that disappeared over the Southern Ocean a year ago was justified, even though there was precious little hard news to report. It was the same kind of endless hyping that characterized the network’s laughable coverage of what was a relatively minor January snowstorm in New York. This overreach left an anchor driving down Broadway in a “Blizzard Mobile” in search of a stray car—any car—that might be stuck in the three inches of snow that fell. The halcyon days of network news are clearly in our past.

This kind of fabulism is also the operating principle in the seemingly more science-driven precincts of weather reporting.  Inexplicably, The Weather Channel  has taken to naming every snow or rain storm that crosses a populated area as if it were a weather disaster. We no longer need a Hurricane to declare a weather emergency.  At the rate we are going, all of us will have to suffer the fate of hearing our names–the forenames our parents thoughtfully contemplated–appropriated to identify some crummy storm that has found its way to Wichita.

To be sure, the nation’s Hearst and Pulitzer newspapers did much the same thing in the heyday of yellow journalism during the later part of the 19th Century.  Drumming up passion against the Spanish in Cuba and the Philippines became a way of life. It’s basically the same hunger for narratives of villains and victims that still serves as the primary formula for most versions of local television news, which feature the very worst that has happened in the last 24 hours.  Within metropolitan areas of 4 or 5 million, that means there’s usually some awful mayhem to breathlessly report.

The price of all this media fabulism is that it forces the nation’s attention to news that most viewers cannot use.  Riveting images of criminality give viewers little to act on, other than a vague sense that their communities are not safe enough.  With uninflated footballs to endlessly mull, who has time for the nation’s systemic challenges–underfunded schools, crumbling highways, aging mass transit, broken city budgets–with admittedly less interesting “B” roll footage, but more important consequences?  Read some of the good newspapers that are left in the United States—the New York Times, Wall Street Journal, the Washington Post and others—and its easy to still discover what we are missing with single-focus coverage.  As the Progressive journalist Bill Moyers asked last December, where are the stories on CIA kidnappings and other governmental “black ops,” the widening gap between rich and poor, or impediments to voting that have been approved in many states?  Some of our better media cover these stories some of the time.  But cable television producers generally shy away from events that do not also have dramatic images.

Dramatic images of bedlam and bloodshed encourage individuals to view their world as more threatening than it is. Older Americans are especially prone to attitudes of chronic pessimism created by cable news coverage that makes nearly every story appear to confirm their worst fears: governments that don’t work, violent crime that is out of control, schools failing to serve their students, epidemic levels of pregnancy and alcohol use among teens.  In fact, even against these perceptions the trend lines generally allow for more optimism rather than less. For example, most American cities are far safer now than they’ve been in the last 40 years.  Most states, including my own, have many superb schools.  And drinking and pregnancy rates for teens are falling dramatically.

The recommendation researchers make to those who care for the aged is usually always the same: don’t let television news become a dominant activity in a senior’s life.  But the same recommendation should hold for the rest of us as well.  We all need to resist the tendency to get sucked into the gore that is justified by a news organization’s desire to troll for ratings on the pretext that its the next big story.

Comments: Woodward@tcnj.edu

“Breaking news” image courtesy of Wikipedia.org

Very Verbal People

Leo McCary Wikipedia.org.
Leo McCarey                           Wikipedia.org.

Some of us are waterfalls of language. But we can be too sure that a constant flow of dazzling fluency will solidify our relations with others. 

I had a friend who had an aversion to people who constantly filled a room with talk.  It was probably the eastern mystic in Paul, who was constantly chagrined by people who had dedicated themselves to replacing whatever silence they encountered with their own observations.  I never asked him why he recoiled from these conversational marathoners.  But I think I knew.  He favored words chosen carefully.  He liked comments that had a point, but not ten points. Most of all, he recoiled against Very Verbal People who turned their opinions into a circus of logorrhea.  Speaking before fully processing what you wanted to communicate wasn’t his style.  Not surprisingly, his care with words and comfort with silence made him a wonderful listener and a good colleague.

Even so, there are times when we do love verbal people who light up a space with their wit and responsiveness.  For most of us that room is usually a theater.  It helps when we can witness a conversation that has been worked out and honed by a room full of crack writers. It helps as well to have actors who can deliver the perfect response with a naturalness that lets us forget that their words came from a script.

The performer as a Very Verbal Person is something of a showcase for the possibilities of language, a model that we may admire for putting a difficult person in their place or, better yet, restoring the will of someone damaged by the worst that life can give.  A good script perfects what is never quite so clear in real life.

My favorite cases include the Schlegel sisters in James Ivory’s 1992 film, Howard’s End.  E. M. Forster’s  two young women are confined by the conventions of the day to stay close to their modest home in turn of the century London. But they are full of ideas and thirsty for conversation, even if the potential conversant is simply a clerk who shows up at their front door to retrieve a misappropriated umbrella. Their curiosity makes them seem fully alive.

There is also the pleasure of hearing the complex overlapping dialogue of a Robert Altman film, especially his classic M.A.S.H (1970).  Its the same satisfaction a viewer gets from vastly different television classics like WB’s Gilmore Girls (2000) or The West Wing (1999).  Writer Aaron Sorkin’s breakthrough series about the Bartlet administration is defined by Sorkin’s love of dialogue structured as a series of intense interrogatories and responses. No voiceless and moody reaction shots here, which is supposedly the stuff of television. In Sorkin’s world characters are always duty bound to frame their feelings as complete counter-arguments.

The surprise in the otherwise more conventional Gilmore Girls lies partly in the fact that the actors were running through scripts that were often twice the number of pages as similar hour-long shows.  Indeed, the long-running series now in re-runs owes its best scenes to the rhythm and pacing common in 1930’s film farces.  Who knew that Lauren Graham would be an heir to the traditions of the Marx Brothers, Cary Grant, and Rosalind Russell?

In these and other entertainments the fun is in watching Very Verbal People trade rebukes and put-downs using a logic entirely their own. The point obviously was not the real-world relevance of the logic, which only makes sense within the manufactured world of the narrative, but the pleasure of seeing people completely comfortable with the task of explaining any and everything.

And so it goes for Irene Dunn and Cary Grant, playing a couple who have drifted into a split in Leo McCarey’s The Awful Truth (1937). The pair have talked their way into a divorce that neither wants:

Jerry: In a half an hour, we'll no longer be Mr. and Mrs.  Funny, isn't it.

Lucy: Yes, it's funny that everything's the way it is on account of the way you feel.

Jerry: Huh?

Lucy: Well, I mean, if you didn't feel that way you do, things wouldn't be the way they are, would they? I mean, things could be the same if things were different.

Jerry: But things are the way you made them.

Lucy: Oh, no. No, things are the way you think I made them. I didn't make them that way at all. Things are just the same as they always were, only, you're the same as you were, too, so I guess things will never be the same again.

All of this boils down to our love of the idea of total fluency.  We spend a lot of our waking hours trying to imagine the right thing. . .anything. . .that will resolve the challenges of dealing with prickly others.  Its only natural to admire the Very Verbal People who make it look so easy.

Comments: Woodward@tcnj.edu