Nothing but the Truthiness: a History of Television News Parody and Its Entry Into the Journalistic Field Curt W

Total Page:16

File Type:pdf, Size:1020Kb

Nothing but the Truthiness: a History of Television News Parody and Its Entry Into the Journalistic Field Curt W Georgia State University ScholarWorks @ Georgia State University Communication Dissertations Department of Communication Summer 8-13-2013 Nothing But the Truthiness: A History of Television News Parody and its Entry into the Journalistic Field Curt W. Hersey Georgia State University Follow this and additional works at: https://scholarworks.gsu.edu/communication_diss Recommended Citation Hersey, Curt W., "Nothing But the Truthiness: A History of Television News Parody and its Entry into the Journalistic Field." Dissertation, Georgia State University, 2013. https://scholarworks.gsu.edu/communication_diss/46 This Dissertation is brought to you for free and open access by the Department of Communication at ScholarWorks @ Georgia State University. It has been accepted for inclusion in Communication Dissertations by an authorized administrator of ScholarWorks @ Georgia State University. For more information, please contact [email protected]. NOTHING BUT THE TRUTHINESS: A HISTORY OF TELEVISION NEWS PARODY AND ITS ENTRY INTO THE JOURNALISTIC FIELD by CURT HERSEY Under the Direction of Ted Friedman ABSTRACT The relationship between humor and politics has been a frequently discussed issue for communication researchers in the new millennium. The rise and success of shows like The Daily Show and The Colbert Report force a reevaluation of the relationship between journalism and politics. Through archival research of scripts, programs, and surrounding discourses this dissertation looks to the past and historicizes news parody as a distinct genre on American television. Since the 1960s several programs on network and cable parodied mainstream newscasts and newsmakers. More recent eXamples of this genre circulate within the same discursive field as traditional television news, thereby functioning both as news in their own right and as a corrective to traditional journalism grounded in practices of objectivity. The dissertation utilizes genre, discourse, and textual analyses to establish the attributes of television news parody and to analyze its role in past and contemporary journalism and culture. INDEX WORDS: News parody, Television satire, Journalistic field, That Was the Week That Was, Saturday Night Live, Not Necessarily the News, The Daily Show, The Colbert Report NOTHING BUT THE TRUTHINESS: A HISTORY OF TELEVISION NEWS PARODY AND ITS ENTRY INTO THE JOURNALISTIC FIELD by CURT HERSEY A Dissertation Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy in the College of Arts and Sciences Georgia State University 2013 Copyright by Curt Wesley Hersey 2013 NOTHING BUT THE TRUTHINESS: A HISTORY OF TELEVISION NEWS PARODY AND ITS ENTRY INTO THE JOURNALISTIC FIELD by CURT HERSEY Committee Chair: Ted Friedman Committee: Kathryn Fuller-Seeley Jason Mittell Alisa Perren Leonard Teel Electronic Version Approved: Office of Graduate Studies College of Arts and Sciences Georgia State University August 2013 iv DEDICATION This dissertation is dedicated with love to my wife and son who supported me throughout this project, and to the memory of my mother and father, who instilled a love of knowledge and indulged my love of television—probably not foreseeing how the two would meet. They always believed I could accomplish whatever I wanted and because of that, so did I. v ACKNOWLEDGEMENTS I would like to thank my dissertation chair, Dr. Ted Friedman, for his guidance and patience over many years of research and writing. His positive attitude and incisive feedback helped me through the rough spots and kept me going. Thanks also goes out to the rest of my committee: Dr. Kathryn Fuller-Seeley for her unfailing humor and for imparting a love of media history, Dr. Jason Mittell for his genre eXpertise, Dr. Alisa Perren for emphasizing the importance of media industry, and Dr. Leonard Teel for his vast knowledge of journalism history and practice. I am indebted to my brother, Scott, for proofreading the manuscript and suggesting language clarifications. Thanks also to my former student worker, Steven Walker, who found solutions to issues with footnote software. Thanks to the following individuals and organizations for their assistance in accessing archive materials: My dean, Dr. Tom Kennedy, and department chair, Dr. Bob Frank, at Berry College for funding my travel to various archives. Richard Holbrook and Richard Weigle at the Paley Center for Media for preparing and accessing archive viewings. Julie Graham at the UCLA Performing Arts Special Collection for help with the HBO script collection. The staff at the UCLA Instructional Media Laboratory for assistance in viewing video archives, including transferring outdated formats to make them available. Jen Nydick for housing me while visiting archives in New York City. While researching and writing the dissertation I was surrounded by supportive colleagues and friends to whom I am indebted. Thank you to my Berry College family, who encouraged and motivated me: Dr. Bob Frank, Dr. Brian Carroll, Dr. Jason Peterson, Kevin Kleine, Diane Land, Dr. Kathy Richardson, and Dr. Randy Richardson. Thank you to past vi colleagues Dr. Marcie Hinton and Jeffrey Morris. Thanks to my friend and former newsroom colleague Dan Bevels for providing me hours of discussion and argumentation that helped me further conceptualize partisanship in the media and the role of humor. Completing this project would not have been possible without the love and support of my family. My wife and intellectual partner, Karen, helped in ways too numerous to count: talking through ideas, creating opportunities for me to write, encouraging me when I doubted my own abilities, and struggling through the process with me. My son, Griffin, provided me with endless joy and helped me to remember that journalism and politics impact those who come after us. Lastly, my father, who walked through it all with me; I wish he could have seen its completion. vii TABLE OF CONTENTS ACKNOWLEDGEMENTS ........................................................................................................................ v LIST OF TABLES ................................................................................................................................... xii LIST OF FIGURES ................................................................................................................................ xiii INTRODUCTION .................................................................................................................................... 1 Television News Parody ................................................................................................................ 1 News Parody and History ............................................................................................................................ 2 News Parody: Crossing the Disciplinary Divide ................................................................................ 6 News Parody as Journalism ........................................................................................................................ 8 Review of Literature – Journalism Studies ............................................................................ 10 What is News? ............................................................................................................................................... 11 The Role of the Journalist ......................................................................................................................... 16 Contemporary Press Criticism ............................................................................................................... 23 Media industry and structure ................................................................................................................. 25 Story development and perspective ..................................................................................................... 29 Journalistic construction of reality ....................................................................................................... 36 Television formatting and presentation ............................................................................................ 39 Review of Literature – News Parody ....................................................................................... 43 Soft News and News Parody .................................................................................................................... 47 News Parody’s Audience ........................................................................................................................... 50 The Acquired Knowledge and Behavior of Political Comedy Viewers .................................. 54 Straight News vs. Comedic News .......................................................................................................... 62 viii Methodology .................................................................................................................................... 73 Chapter Outline .............................................................................................................................. 76 Humor and its Subversive Potential .................................................................................................... 77 That Was the Week That Was and the Limits of 1960s Political Comedy ............................ 77 Weekend Update: Moving News Parody to Late Night ...............................................................
Recommended publications
  • Colbert Super PAC - 1
    Colbert Super PAC - 1 Stephen Colbert’s Civics Lesson: How Colbert Super PAC Taught Viewers about Campaign Finance By Bruce W. Hardy Jeffrey A. Gottfried Kenneth M. Winneg & Kathleen Hall Jamieson Colbert Super PAC - 2 Stephen Colbert’s Civics Lesson: How Colbert Super PAC Taught Viewers about Campaign Finance Abstract This study tests whether exposure to The Colbert Report influenced knowledge of super PACs and 501(c)(4) groups, and ascertains how having such knowledge influenced viewers’ perceptions about the role of money in politics. Our analysis of a national random sample of adults interviewed after the 2012 presidential election found that viewing The Colbert Report both increased peoples’ perception of how knowledgeable they were about super PACs and 501(c)(4) groups and increased actual knowledge of campaign finance regulation regarding these independent expenditure groups. Findings suggest that the political satirist was more successful in informing his viewers about super PACs and 501(c)(4) groups than were other types of news media. Viewing The Colbert Report also indirectly influenced how useful his audience perceived money to be in politics. Colbert Super PAC - 3 Stephen Colbert’s Civics Lesson: How Colbert Super PAC Taught Viewers about Campaign Finance After faux-right-wing satirist Stephen Colbert signed control of his super PAC “Americans for a Better Tomorrow, Tomorrow” over to his Comedy Central colleague and Daily Show host Jon Stewart and, in the process, renamed it “The Definitely Not Coordinating with Stephen Colbert Super PAC,” the comic announced his candidacy for “President of the United States of South Carolina.” Some scholars characterized these moments of Colbert’s direct engagement with post-Citizens United campaign finance laws as “commentary that is entertaining and ironic, yet also critically serious” (Jones, Baym, & Day, 2012, p.
    [Show full text]
  • February 26, 2021 Amazon Warehouse Workers In
    February 26, 2021 Amazon warehouse workers in Bessemer, Alabama are voting to form a union with the Retail, Wholesale and Department Store Union (RWDSU). We are the writers of feature films and television series. All of our work is done under union contracts whether it appears on Amazon Prime, a different streaming service, or a television network. Unions protect workers with essential rights and benefits. Most importantly, a union gives employees a seat at the table to negotiate fair pay, scheduling and more workplace policies. Deadline Amazon accepts unions for entertainment workers, and we believe warehouse workers deserve the same respect in the workplace. We strongly urge all Amazon warehouse workers in Bessemer to VOTE UNION YES. In solidarity and support, Megan Abbott (DARE ME) Chris Abbott (LITTLE HOUSE ON THE PRAIRIE; CAGNEY AND LACEY; MAGNUM, PI; HIGH SIERRA SEARCH AND RESCUE; DR. QUINN, MEDICINE WOMAN; LEGACY; DIAGNOSIS, MURDER; BOLD AND THE BEAUTIFUL; YOUNG AND THE RESTLESS) Melanie Abdoun (BLACK MOVIE AWARDS; BET ABFF HONORS) John Aboud (HOME ECONOMICS; CLOSE ENOUGH; A FUTILE AND STUPID GESTURE; CHILDRENS HOSPITAL; PENGUINS OF MADAGASCAR; LEVERAGE) Jay Abramowitz (FULL HOUSE; GROWING PAINS; THE HOGAN FAMILY; THE PARKERS) David Abramowitz (HIGHLANDER; MACGYVER; CAGNEY AND LACEY; BUCK JAMES; JAKE AND THE FAT MAN; SPENSER FOR HIRE) Gayle Abrams (FRASIER; GILMORE GIRLS) 1 of 72 Jessica Abrams (WATCH OVER ME; PROFILER; KNOCKING ON DOORS) Kristen Acimovic (THE OPPOSITION WITH JORDAN KLEPPER) Nick Adams (NEW GIRL; BOJACK HORSEMAN;
    [Show full text]
  • Stephen Colbert's Super PAC and the Growing Role of Comedy in Our
    STEPHEN COLBERT’S SUPER PAC AND THE GROWING ROLE OF COMEDY IN OUR POLITICAL DISCOURSE BY MELISSA CHANG, SCHOOL OF PUBLIC AFFAIRS ADVISER: CHRIS EDELSON, PROFESSOR IN THE SCHOOL OF PUBLIC AFFAIRS UNIVERSITY HONORS IN CLEG SPRING 2012 Dedicated to Professor Chris Edelson for his generous support and encouragement, and to Professor Lauren Feldman who inspired my capstone with her course on “Entertainment, Comedy, and Politics”. Thank you so, so much! 2 | C h a n g STEPHEN COLBERT’S SUPER PAC AND THE GROWING ROLE OF COMEDY IN OUR POLITICAL DISCOURSE Abstract: Comedy plays an increasingly legitimate role in the American political discourse as figures such as Stephen Colbert effectively use humor and satire to scrutinize politics and current events, and encourage the public to think more critically about how our government and leaders rule. In his response to the Supreme Court case of Citizens United v. Federal Election Commission (2010) and the rise of Super PACs, Stephen Colbert has taken the lead in critiquing changes in campaign finance. This study analyzes segments from The Colbert Report and the Colbert Super PAC, identifying his message and tactics. This paper aims to demonstrate how Colbert pushes political satire to new heights by engaging in real life campaigns, thereby offering a legitimate voice in today’s political discourse. INTRODUCTION While political satire is not new, few have mastered this art like Stephen Colbert, whose originality and influence have catapulted him to the status of a pop culture icon. Never breaking character from his zany, blustering persona, Colbert has transformed the way Americans view politics by using comedy to draw attention to important issues of the day, critiquing and unpacking these issues in a digestible way for a wide audience.
    [Show full text]
  • The Impact of Organizational Characteristics on Super PAC
    The Impact of Organizational Characteristics on Super PAC Financing and Independent Expenditures Paul S. Herrnson University of Connecticut [email protected] Presented at the Meeting of the Campaign Finance Task Force, Bipartisan Policy Center, Washington, DC, April 21, 2017 (revised June 2017). 1 Exe cutive Summa ry Super PACs have grown in number, wealth, and influence since the Supreme Court laid the foundation for their formation in Citizens United v. Federal Election Commission, and the decisions reached by other courts and the FEC clarified the boundaries of their political participation. Their objectives and activities also have evolved. Super PACs are not nearly as monolithic as they have been portrayed by the media. While it is inaccurate to characterize them as representative of American society, it is important to recognize that they vary in wealth, mission, structure, affiliation, political perspective, financial transparency, and how and where they participate in political campaigns. Organizational characteristics influence super PAC financing, including the sums they raise. Organizational characteristics also affect super PAC independent expenditures, including the amounts spent, the elections in which they are made, the candidates targeted, and the tone of the messages delivered. The super PAC community is not static. It is likely to continue to evolve in response to legal challenges; regulatory decisions; the objectives of those who create, administer, and finance them; and changes in the broader political environment. 2 Contents I. Introduction 3 II. Data and Methods 4 III. Emergence and Development 7 IV. Organizational Characteristics 11 A. Finances 11 B. Mission 14 C. Affiliation 17 D. Financial Transparency 19 E.
    [Show full text]
  • Super Pacs and 501(C)(4) Nonprofits
    Super PACs and 501(c)(4) Nonprofits: How the Two Entities Can Work Together for Personal Enrichment On November 12, 2012, “The Colbert Report” host, Steven Colbert, informed viewers that his popular Super PAC, “Americans for a Better Tomorrow, Tomorrow” (more commonly known as the “Colbert Super PAC”) would be dissolving.1 Because there remained in the Super PAC nearly $800,000,2 Colbert wanted to know if there existed a way in which he might keep the funds for himself in a personal capacity, while barring the public from such knowledge. Colbert invited his attorney, Trevor Potter, on the show, and Potter explained that there is a method by which the Super PAC money can be ultimately routed to Colbert without the public’s (or the IRS’s) knowledge.3 Because Colbert also solely founded and operates a 501(c)(4) organization, “Colbert Super PAC S.H.H. Institute,”4 he could essentially use this nonprofit organization as an intermediary vehicle to get the funds from his Super PAC to his own bank account – without any trace of the transaction.5 Afraid that corporate donors would shy away from donating to the “Colbert Super PAC” because of its public disclosure of donors, Colbert formed his 501(c)(4) “Colbert Super PAC S.H.H. Institute.”6 501(c)(4) nonprofits, unlike their 501(c)(3) counterparts, are allowed to engage in extensive political activity, including lobbying, participating in political campaigns and elections, and donating money to political groups. Although the practical purpose of this 1 Colbert Super PAC SHH! - Secret Second 501c4 - Trevor Potter, Colbert Nation, Nov.
    [Show full text]
  • Theaters 3 & 4 the Grand Lodge on Peak 7
    The Grand Lodge on Peak 7 Theaters 3 & 4 NOTE: 3D option is only available in theater 3 Note: Theater reservations are for 2 hours 45 minutes. Movie durations highlighted in Orange are 2 hours 20 minutes or more. Note: Movies with durations highlighted in red are only viewable during the 9PM start time, due to their excess length Title: Genre: Rating: Lead Actor: Director: Year: Type: Duration: (Mins.) The Avengers: Age of Ultron 3D Action PG-13 Robert Downey Jr. Joss Whedon 2015 3D 141 Born to be Wild 3D Family G Morgan Freeman David Lickley 2011 3D 40 Captain America : The Winter Soldier 3D Action PG-13 Chris Evans Anthony Russo/ Jay Russo 2014 3D 136 The Chronicles of Narnia: The Voyage of the Dawn Treader 3D Adventure PG Georgie Henley Michael Apted 2010 3D 113 Cirque Du Soleil: Worlds Away 3D Fantasy PG Erica Linz Andrew Adamson 2012 3D 91 Cloudy with a Chance of Meatballs 2 3D Animation PG Ana Faris Cody Cameron 2013 3D 95 Despicable Me 3D Animation PG Steve Carell Pierre Coffin 2010 3D 95 Despicable Me 2 3D Animation PG Steve Carell Pierre Coffin 2013 3D 98 Finding Nemo 3D Animation G Ellen DeGeneres Andrew Stanton 2003 3D 100 Gravity 3D Drama PG-13 Sandra Bullock Alfonso Cuaron 2013 3D 91 Hercules 3D Action PG-13 Dwayne Johnson Brett Ratner 2014 3D 97 Hotel Transylvania Animation PG Adam Sandler Genndy Tartakovsky 2012 3D 91 Ice Age: Continetal Drift 3D Animation PG Ray Romano Steve Martino 2012 3D 88 I, Frankenstein 3D Action PG-13 Aaron Eckhart Stuart Beattie 2014 3D 92 Imax Under the Sea 3D Documentary G Jim Carrey Howard Hall
    [Show full text]
  • TELEVISION NOMINEES DRAMA SERIES Breaking Bad, Written By
    TELEVISION NOMINEES DRAMA SERIES Breaking Bad, Written by Sam Catlin, Vince Gilligan, Peter Gould, Gennifer Hutchison, George Mastras, Thomas Schnauz, Moira Walley-Beckett; AMC The Good Wife, Written by Meredith Averill, Leonard Dick, Keith Eisner, Jacqueline Hoyt, Ted Humphrey, Michelle King, Robert King, Erica Shelton Kodish, Matthew Montoya, J.C. Nolan, Luke Schelhaas, Nichelle Tramble Spellman, Craig Turk, Julie Wolfe; CBS Homeland, Written by Henry Bromell, William E. Bromell, Alexander Cary, Alex Gansa, Howard Gordon, Barbara Hall, Patrick Harbinson, Chip Johannessen, Meredith Stiehm, Charlotte Stoudt, James Yoshimura; Showtime House Of Cards, Written by Kate Barnow, Rick Cleveland, Sam R. Forman, Gina Gionfriddo, Keith Huff, Sarah Treem, Beau Willimon; Netflix Mad Men, Written by Lisa Albert, Semi Chellas, Jason Grote, Jonathan Igla, Andre Jacquemetton, Maria Jacquemetton, Janet Leahy, Erin Levy, Michael Saltzman, Tom Smuts, Matthew Weiner, Carly Wray; AMC COMEDY SERIES 30 Rock, Written by Jack Burditt, Robert Carlock, Tom Ceraulo, Luke Del Tredici, Tina Fey, Lang Fisher, Matt Hubbard, Colleen McGuinness, Sam Means, Dylan Morgan, Nina Pedrad, Josh Siegal, Tracey Wigfield; NBC Modern Family, Written by Paul Corrigan, Bianca Douglas, Megan Ganz, Abraham Higginbotham, Ben Karlin, Elaine Ko, Steven Levitan, Christopher Lloyd, Dan O’Shannon, Jeffrey Richman, Audra Sielaff, Emily Spivey, Brad Walsh, Bill Wrubel, Danny Zuker; ABC Parks And Recreation, Written by Megan Amram, Donick Cary, Greg Daniels, Nate DiMeo, Emma Fletcher, Rachna
    [Show full text]
  • As Writers of Film and Television and Members of the Writers Guild Of
    July 20, 2021 As writers of film and television and members of the Writers Guild of America, East and Writers Guild of America West, we understand the critical importance of a union contract. We are proud to stand in support of the editorial staff at MSNBC who have chosen to organize with the Writers Guild of America, East. We welcome you to the Guild and the labor movement. We encourage everyone to vote YES in the upcoming election so you can get to the bargaining table to have a say in your future. We work in scripted television and film, including many projects produced by NBC Universal. Through our union membership we have been able to negotiate fair compensation, excellent benefits, and basic fairness at work—all of which are enshrined in our union contract. We are ready to support you in your effort to do the same. We’re all in this together. Vote Union YES! In solidarity and support, Megan Abbott (THE DEUCE) John Aboud (HOME ECONOMICS) Daniel Abraham (THE EXPANSE) David Abramowitz (CAGNEY AND LACEY; HIGHLANDER; DAUGHTER OF THE STREETS) Jay Abramowitz (FULL HOUSE; MR. BELVEDERE; THE PARKERS) Gayle Abrams (FASIER; GILMORE GIRLS; 8 SIMPLE RULES) Kristen Acimovic (THE OPPOSITION WITH JORDAN KLEEPER) Peter Ackerman (THINGS YOU SHOULDN'T SAY PAST MIDNIGHT; ICE AGE; THE AMERICANS) Joan Ackermann (ARLISS) 1 Ilunga Adell (SANFORD & SON; WATCH YOUR MOUTH; MY BROTHER & ME) Dayo Adesokan (SUPERSTORE; YOUNG & HUNGRY; DOWNWARD DOG) Jonathan Adler (THE TONIGHT SHOW STARRING JIMMY FALLON) Erik Agard (THE CHASE) Zaike Airey (SWEET TOOTH) Rory Albanese (THE DAILY SHOW WITH JON STEWART; THE NIGHTLY SHOW WITH LARRY WILMORE) Chris Albers (LATE NIGHT WITH CONAN O'BRIEN; BORGIA) Lisa Albert (MAD MEN; HALT AND CATCH FIRE; UNREAL) Jerome Albrecht (THE LOVE BOAT) Georgianna Aldaco (MIRACLE WORKERS) Robert Alden (STREETWALKIN') Richard Alfieri (SIX DANCE LESSONS IN SIX WEEKS) Stephanie Allain (DEAR WHITE PEOPLE) A.C.
    [Show full text]
  • Back Story: Lessons from the Colbert Super
    LESSONS FROM THE COLBERT SUPERPAC BY ERIN BARNETT, ESQ. Federal campaign fi nance laws sure are tricky, and the 2010 Obama, Priorities USA Action, is headed by former Obama press United States Supreme Court decision, Citizens United v. Federal secretary, Bill Burton. Election Commission, has only muddied the waters. So it’s a In addition to having the freedom to accept unlimited good thing sharp legal minds, such as Stephen Colbert, host of amounts of contributions, Super PACs also have the advantage Comedy Central’s “The Colbert Report”, are around to show us of creating the impression of distance between a candidate and how it is all supposed to work. his or her donors. An entertaining Under Citizens United, certain example of this occurred when entities known as political action the famed legal brothel Moonlite committees (PACs) may now raise Bunny Ranch was requested by unlimited amounts of contributions the Ron Paul campaign to donate, received from individuals, not to the campaign directly, corporations and unions for the but to a Ron Paul-supporting purpose of supporting a candidate Super PAC. Donors looking (such as the purchase of TV ad for complete anonymity may space), but are prohibited from consider donating to a 501(c)(4) donating directly to particular organization associated with the campaigns. Such PACs, dubbed Super PAC the donor hopes to “Super PACs,” differ from benefi t; a 501(c)(4) is not required traditional PACs that can donate to meet the donor-disclosure directly to a particular campaign, requirements of Super PACs, but but cannot accept corporate or can nonetheless donate to Super union donations.
    [Show full text]
  • What We Can Learn from Stephen Colbert
    W&M ScholarWorks Articles Fall 2012 Want to Teach about SuperPACs? What We Can Learn from Stephen Colbert Jeremy Stoddard College of William & Mary, [email protected] Follow this and additional works at: https://scholarworks.wm.edu/articles Part of the Curriculum and Social Inquiry Commons Recommended Citation Stoddard, Jeremy, "Want to Teach about SuperPACs? What We Can Learn from Stephen Colbert" (2012). Articles. 8. https://scholarworks.wm.edu/articles/8 This Article is brought to you for free and open access by W&M ScholarWorks. It has been accepted for inclusion in Articles by an authorized administrator of W&M ScholarWorks. For more information, please contact [email protected]. 41 Commentary_______________________________________________________________________ Want to Teach about SuperPACs? What We Can Learn from Stephen Colbert Jeremy Stoddard, PhD Spears Distinguished Associate Professor School of Education College of William & Mary Willia msb ur g, VA Abstract The emergence of the SuperPACs in American politics is a major issue in the current election. SuperPACs, and the media campaigns they fund, also present a major challenge for media and democratic education. This article explores the issues surrounding SuperPACs and the rise of media in elections and politics in general, and presents some starting points for addressing these challenges in K-12 school curriculum and policy. Key areas addressed include: the need for more issues - centered and deliberative curriculum that engage students in examining the complexities of contemporary issues; a focus on media literacy in the social studies curriculum; and the potential for using popular culture, such as Stephen Colbert’s segments on SuperPACs, to engage students in current debates.
    [Show full text]
  • Nomination Press Release
    Brian Boyle, Supervising Producer Outstanding Voice-Over Nahnatchka Khan, Supervising Producer Performance Kara Vallow, Producer American Masters • Jerome Robbins: Diana Ritchey, Animation Producer Something To Dance About • PBS • Caleb Meurer, Director Thirteen/WNET American Masters Ron Hughart, Supervising Director Ron Rifkin as Narrator Anthony Lioi, Supervising Director Family Guy • I Dream of Jesus • FOX • Fox Mike Mayfield, Assistant Director/Timer Television Animation Seth MacFarlane as Peter Griffin Robot Chicken • Robot Chicken: Star Wars Episode II • Cartoon Network • Robot Chicken • Robot Chicken: Star Wars ShadowMachine Episode II • Cartoon Network • Seth Green, Executive Producer/Written ShadowMachine by/Directed by Seth Green as Robot Chicken Nerd, Bob Matthew Senreich, Executive Producer/Written by Goldstein, Ponda Baba, Anakin Skywalker, Keith Crofford, Executive Producer Imperial Officer Mike Lazzo, Executive Producer The Simpsons • Eeny Teeny Maya, Moe • Alex Bulkley, Producer FOX • Gracie Films in Association with 20th Corey Campodonico, Producer Century Fox Television Hank Azaria as Moe Syzlak Ollie Green, Producer Douglas Goldstein, Head Writer The Simpsons • The Burns And The Bees • Tom Root, Head Writer FOX • Gracie Films in Association with 20th Hugh Davidson, Written by Century Fox Television Harry Shearer as Mr. Burns, Smithers, Kent Mike Fasolo, Written by Brockman, Lenny Breckin Meyer, Written by Dan Milano, Written by The Simpsons • Father Knows Worst • FOX • Gracie Films in Association with 20th Kevin Shinick,
    [Show full text]
  • Transcript 'Saturday Night Live' and Presidential
    TRANSCRIPT ‘SATURDAY NIGHT LIVE’ AND PRESIDENTIAL POLITICS PANEL DISCUSSION Saturday Night Live has provided an irreverent yet influential perspective on American presidential politics since its debut season in 1975. Two days after kicking off its fall 2008 season with a sketch portraying Sarah Palin and Hillary Clinton, SNL was the subject of a panel discussion with series creator and executive producer Lorne Michaels, selected by Time Magazine as one of the world’s 100 most influential people; cast members and Weekend Update co-anchors Amy Poehler and Seth Meyers; and veteran SNL writer James Downey. The program celebrated the launch of the 2008 edition of the Museum’s website, The Living Room Candidate (www.livingroomcandidate.org), an archive of American presidential campaign commercials. Panel discussion with James Downey, Lorne but Lorne created the show, and it had certain Michaels, Seth Meyers, and Amy Poehler, characteristics. It had brilliant writing, the casting moderated by Chief Curator David Schwartz was outstanding, and most important, Lorne was (September 15, 2008): not afraid. He was willing to test the limits of what the executives would permit, and test the ROCHELLE SLOVIN: Now, to introduce Lorne audience, as well. He was willing to put pins into Michaels: Herb Schlosser, Chairman of the Board balloons, say outrageous things, and he created of Trustees of the Museum of the Moving Image. something new. While Herb was president of NBC, he put Saturday Night Live on the air, so there’s no one Lorne got the respect of the audience—we had more fitting as an introducer tonight.
    [Show full text]