The Good, the Bad, and the Daily Show
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Tribune of the People: Maintaining the Legitimacy of Aggressive Journalism1 Steven E
Tribune of the people: maintaining the legitimacy of aggressive journalism1 Steven E. Clayman UNIVERSITY OF CALIFORNIA, LOS ANGELES Like other societal institutions, the institution of American journalism confronts a problem of legitimation. In order to be granted continued access to the corridors of power and to maintain the trust of news consumers, the journalistic enterprise must be perceived as essentially valid and legitimate (Hallin, 1994; Tuchman, 1978). As Hallin (1994: 32) has observed: The media have to attend to their own legitimacy. They must maintain the integrity of their relationship with the audience and also the integrity of their own self-image and of the social relationships that make up the profession of journalism. Moreover, rather than being a static phenomenon, legitimacy requires ongoing maintenance and upkeep. Because the practice of journalism frequently tramples on prestigious individuals and institutions, its legiti- macy is recurrently questioned both by news subjects themselves and by members of the public. Aggressive journalists are particularly vulnerable to the charge of having gone beyond the bounds of professionalism or propriety. To insulate themselves from external pressure and more generally to maintain a semblance of legitimacy, journalists draw on a variety of resources,2 one of which is to align themselves with the public at large. The role of public servant has deep historical roots within the profession (Schiller, 1981; Schudson, 1978) and it continues to have salience today, not only as a normative ideal that journalists strive for but also as a strategic legitimating resource. It is no coincidence that ‘tribune’ remains a Media, Culture & Society © 2002 SAGE Publications (London, Thousand Oaks and New Delhi), Vol. -
Geopolitics, Oil Law Reform, and Commodity Market Expectations
OKLAHOMA LAW REVIEW VOLUME 63 WINTER 2011 NUMBER 2 GEOPOLITICS, OIL LAW REFORM, AND COMMODITY MARKET EXPECTATIONS ROBERT BEJESKY * Table of Contents I. Introduction .................................... ........... 193 II. Geopolitics and Market Equilibrium . .............. 197 III. Historical U.S. Foreign Policy in the Middle East ................ 202 IV. Enter OPEC ..................................... ......... 210 V. Oil Industry Reform Planning for Iraq . ............... 215 VI. Occupation Announcements and Economics . ........... 228 VII. Iraq’s 2007 Oil and Gas Bill . .............. 237 VIII. Oil Price Surges . ............ 249 IX. Strategic Interests in Afghanistan . ................ 265 X. Conclusion ...................................... ......... 273 I. Introduction The 1973 oil supply shock elevated OPEC to world attention and ensconced it in the general consciousness as a confederacy that is potentially * M.A. Political Science (Michigan), M.A. Applied Economics (Michigan), LL.M. International Law (Georgetown). The author has taught international law courses for Cooley Law School and the Department of Political Science at the University of Michigan, American Government and Constitutional Law courses for Alma College, and business law courses at Central Michigan University and the University of Miami. 193 194 OKLAHOMA LAW REVIEW [Vol. 63:193 antithetical to global energy needs. From 1986 until mid-1999, prices generally fluctuated within a $10 to $20 per barrel band, but alarms sounded when market prices started hovering above $30. 1 In July 2001, Senator Arlen Specter addressed the Senate regarding the need to confront OPEC and urged President Bush to file an International Court of Justice case against the organization, on the basis that perceived antitrust violations were a breach of “general principles of law.” 2 Prices dipped initially, but began a precipitous rise in mid-March 2002. -
What Will It Take to Save Comedy Central?
What Will it Take to Save Comedy Central? 08.16.2016 Comedy Central's cancellation of The Nightly Show is the latest in a series of signals that all is not well at the network that was once the home of the country's sharpest political satire and news commentary. On Monday, Comedy Central announced that it was cancelling the show, which took Stephen Colbert's Colbert Report time slot in February 2015 when Colbert moved over to CBS' The Late Show. The move was not surprising considering the ratings: The Nightly Show is averaging a barely-there 0.2 among its key demographic of adults 18-49. RELATED: Comedy Central Cancels 'The Nightly Show' But The Nightly Show's failure to catch on is not the only problem at Comedy Central. Consider its late-night partner, The Daily Show, long the network's marquee program with host Jon Stewart. Stewart left the show just over a year ago and was replaced with South African comic Trevor Noah, who was hand-picked by Stewart. But despite Comedy Central's best efforts to reassure the media and audiences that Noah would eventually catch on, so far he hasn't. In May, The Wrap reported that The Daily Show had lost 38% of Stewart's audience among millennials aged 18-34 and 35% in households. And that comes at a time when the country is in the middle of a presidential election that lends itself extremely well to satire. It's also proven to be a mistake to let so much of its talent walk out the door, with Stephen Colbert going to CBS, John Oliver to HBO and Samantha Bee to TBS, taking much of Comedy Central's brand equity with them. -
Collection: Blackwell, Morton: Files Folder Title: [Indians] Box: 32
Ronald Reagan Presidential Library Digital Library Collections This is a PDF of a folder from our textual collections. Collection: Blackwell, Morton: Files Folder Title: [Indians] Box: 32 To see more digitized collections visit: https://reaganlibrary.gov/archives/digital-library To see all Ronald Reagan Presidential Library inventories visit: https://reaganlibrary.gov/document-collection Contact a reference archivist at: [email protected] Citation Guidelines: https://reaganlibrary.gov/citing National Archives Catalogue: https://catalog.archives.gov/ WITHDRAWAL SHEET Ronald Reagan Library Collection: BLACKWELL, MORTON: Files Archivist: cas/cas File Folder: [Indians] Box 8409 Date: 12/10/96 lil\ll\lllll■l. 1:1\:\ 1. note (1 pp., partial) 4/29/83 '· ·, RESTRICTION CODES PrnldtnUal Rtconls Act• (44 U.S.C. 2204(10 Fl'H<lom of Information Act• [S u.s.c . 5l52(bD P-1 National security clauified Information ((a)(1) ol the PRA]. F-1 National security clauified Information [(b)(1) of the FOIA). P-2 Relating to appointment to Federal office [(a)(2) ol the PRA]. F-2 Release could disclose internal personnel rules and practices ol an agency ((b)(2) ol the P-3 Release would violate a Federal mtute [(a)(3) ol the PRA]. FOIA]. P-4 Release would disclose trade secrets or confidential commercial or financial information F-3 Release would violate a Federal a1atue [(b)(3) of the FOIA]. [(a)(4) ol the PRA). F-4 Release would disclose 1rade secrets or confidential commercial or financial information P-5 Release would disclose confidential advice between the President and his advisors, or [(b)(4) of the FOIA]. -
PC Is Back in South Park: Framing Social Issues Through Satire
Colloquy Vol. 12, Fall 2016, pp. 101-114 PC Is Back in South Park: Framing Social Issues through Satire Alex Dejean Abstract This study takes an extensive look at the television program South Park episode “Stunning and Brave.” There is limited research that explores the use of satire to create social discourse on concepts related to political correctness. I use framing theory as a primary variable to understand the messages “Stunning and Brave” attempts to convey. Framing theory originated from the theory of agenda setting. Agenda setting explains how media depictions affect how people think about the world. Framing is an aspect of agenda setting that details the organization and structure of a narrative or story. Framing is such an important variable to agenda setting that research on framing has become its own field of study. Existing literature of framing theory, comedy, and television has shown how audiences perceive issues once they have been exposed to media messages. The purpose of this research will review relevant literature explored in this area to examine satirical criticism on the social issue of political correctness. It seems almost unnecessary to point out the effect media has on us every day. Media is a broad term for the collective entities and structures through which messages are created and transmitted to an audience. As noted by Semmel (1983), “Almost everyone agrees that the mass media shape the world around us” (p. 718). The media tells us what life is or what we need for a better life. We have been bombarded with messages about what is better. -
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. -
Nailing an Exclusive Interview in Prime Time
The Business of Getting “The Get”: Nailing an Exclusive Interview in Prime Time by Connie Chung The Joan Shorenstein Center I PRESS POLITICS Discussion Paper D-28 April 1998 IIPUBLIC POLICY Harvard University John F. Kennedy School of Government The Business of Getting “The Get” Nailing an Exclusive Interview in Prime Time by Connie Chung Discussion Paper D-28 April 1998 INTRODUCTION In “The Business of Getting ‘The Get’,” TV to recover a sense of lost balance and integrity news veteran Connie Chung has given us a dra- that appears to trouble as many news profes- matic—and powerfully informative—insider’s sionals as it does, and, to judge by polls, the account of a driving, indeed sometimes defining, American news audience. force in modern television news: the celebrity One may agree or disagree with all or part interview. of her conclusion; what is not disputable is that The celebrity may be well established or Chung has provided us in this paper with a an overnight sensation; the distinction barely nuanced and provocatively insightful view into matters in the relentless hunger of a Nielsen- the world of journalism at the end of the 20th driven industry that many charge has too often century, and one of the main pressures which in recent years crossed over the line between drive it as a commercial medium, whether print “news” and “entertainment.” or broadcast. One may lament the world it Chung focuses her study on how, in early reveals; one may appreciate the frankness with 1997, retired Army Sergeant Major Brenda which it is portrayed; one may embrace or reject Hoster came to accuse the Army’s top enlisted the conclusions and recommendations Chung man, Sergeant Major Gene McKinney—and the has given us. -
UNIVERSITY of PENNSYLVANIA Two Hundred Thirty-Fifth Commencement for the Conferring of Degrees
UNIVERSITY of PENNSYLVANIA Two Hundred Thirty-Fifth Commencement for the Conferring of Degrees FRANKLIN FIELD Tuesday, May 21, 1991 SEATING DIAGRAM Guests will find this diagram helpful in locating the approximate seating of the degree candidates. The seating roughly corresponds to the order by school in which the candidates for degrees are presented, beginning at top left with the College of Arts and Sciences. The actual sequence is shown in the Contents on the opposite page under Degrees in Course. Reference to the paragraph on page seven describing the colors of the candidates' hoods according to their fields of study may further assist guests in placing the locations of the various schools. STAGE Graduate Faculty Faculty Faculties Engineering Nursing Medicin College College Wharton Dentaline Arts Dental Medicine Veterinary Medicine Wharton Education Graduate Social Work Annenberg Contents Page Seating Diagram of the Graduating Students . 2 The Commencement Ceremony .. 4 Commencement Notes .. 6 Degrees in Course . 8 The College of Arts and Sciences .. 8 The College of General Studies . 17 The School of Engineering and Applied Science .. 18 The Wharton School .. 26 The Wharton Evening School .. 30 The Wharton Graduate Division .. 32 The School of Nursing .. 37 The School of Medicine .. 39 The Law School .. 40 The Graduate School of Fine Arts .. 42 The School of Dental Medicine .. 45 The School of Veterinary Medicine .. 46 The Graduate School of Education .. 47 The School of Social Work .. 49 The Annenberg School for Communication .. 50 The Graduate Faculties .. 51 Certificates .. 57 General Honors Program .. 57 Advanced Dental Education .. 57 Education .. 58 Fine Arts .. 58 Commissions . -
Keynote Speaker: Ted Koppel
TMPAA 2012 Mid Year Meeting Keynote SpeaKer: ted Koppel Ted Koppel was the youngest full-time correspondent ever hired by ABC News. By the time he left the network, 42 years later, Ted was the most honored reporter in the network’s history; having received more Overseas Press Club awards than the previ- ous record holder—Edward R. Murrow—two George Polk awards, eight George Foster Peabody awards, eleven duPont-Columbia awards (television’s equivalent to the Pulitzer Prize) and 42 Emmys. Ted covered Dr. Martin Luther King’s march from Selma to Montgomery, Alabama, he was a war correspondent in Vietnam, Laos and Cambodia, traveled with President Nixon to China during his historic visit in 1972, and covered Henry Kissinger’s shuttle diplomacy in the Middle East. He has covered wars in Bosnia, Congo and Somalia, covered the first Gulf War and was embedded with the 3rd Armored Infantry Division during the invasion of Iraq in 2003. The first presidential campaign that Ted covered was Barry Goldwater’s in 1964. The most recent was Barak Obama’s in 2008. On the last day of the Soviet Union, Ted was the only reporter with Mikhail Ghorbachev inside the Kremlin. On the day of Nelson Mandela’s release from prison, Ted interviewed him at his home in Suweto, South Africa. Ted was the anchor and managing editor of Nightline over a period of 26 years, or roughly 6,000 programs, making him the longest-serving news anchor in broadcast network history. Since leaving ABC, Ted has been a contributing columnist for The New York Times and The Washington Post. -
Politics of Parody
Bryant University Bryant Digital Repository English and Cultural Studies Faculty English and Cultural Studies Journal Articles Publications and Research Winter 2012 Live From New York, It's the Fake News! Saturday Night Live and the (Non)Politics of Parody Amber Day Bryant University Ethan Thompson Texas A & M University - Corpus Christi, [email protected] Follow this and additional works at: https://digitalcommons.bryant.edu/eng_jou Part of the Other Arts and Humanities Commons, Other Film and Media Studies Commons, and the Television Commons Recommended Citation Day, Amber and Thompson, Ethan, "Live From New York, It's the Fake News! Saturday Night Live and the (Non)Politics of Parody" (2012). English and Cultural Studies Journal Articles. Paper 44. https://digitalcommons.bryant.edu/eng_jou/44 This Article is brought to you for free and open access by the English and Cultural Studies Faculty Publications and Research at Bryant Digital Repository. It has been accepted for inclusion in English and Cultural Studies Journal Articles by an authorized administrator of Bryant Digital Repository. For more information, please contact [email protected]. 1 Live from New York, It’s the Fake News! Saturday Night Live and the (Non)Politics of Parody Amber Day Assistant Professor English and Cultural Studies Bryant University 401-952-3933 [email protected] Ethan Thompson Associate Professor Department of Communication Texas A&M University - Corpus Christi 361-876-5200 [email protected] 2 Abstract Though Saturday Night Live’s “Weekend Update” has become one of the most iconic of fake news programs, it is remarkably unfocused on either satiric critique or parody of particular news conventions. -
Viacomcbs Celebrates 66 Primetime Emmy Award Nominations
ViacomCBS Celebrates 66 Primetime Emmy Award Nominations July 14, 2021 CBS Television Network, CBS Studios and Paramount+ Score 35 Total Nominations Stephen Colbert’s The Late Show, The Election Night Special and Tooning Out the News Receive 9 Nominations, the Most of Any Late Night Brand ViacomCBS’ MTV Entertainment Group Earns 20 Nominations, Including First-Time Nominations for Paramount Network’s “Yellowstone” and MTV Documentary Films’ “76 Days” SHOWTIME® Receives Six Nominations, Including “Shameless” star William H. Macy for Outstanding Lead Actor In A Comedy Series LOS ANGELES--(BUSINESS WIRE)--Jul. 13, 2021-- ViacomCBS earned 66 Academy of Television Arts & Sciences 73rd Primetime Emmy Award nominations across its combined portfolio. CBS Television Network, CBS Studios and Paramount+ together received a total of 35 Primetime Emmy nominations. CBS’ “The Late Show with Stephen Colbert” – the #1 late night talk show on television – received five nominations, marking the series’ 18th Emmy nomination to date. CBS landed several nominations for talent and special programming, including “Oprah With Meghan And Harry: A CBS Primetime Special” and “John Lewis: Celebrating A Hero.” “The Pepsi Super Bowl LV Halftime Show Starring The Weeknd” and “The 63rd Annual Grammy Awards” also received multiple nods this year. For her starring role in “Mom,” Allison Janney was nominated for Outstanding Lead Actress in a Comedy Series. CBS Studios received 21 nominations, among them an Outstanding Competition Series nod for “The Amazing Race.” Short-form series “Carpool Karaoke: The Series” was also nominated. Paramount+, together with CBS Studios, picked up six nominations this season, including four nominations for “Star Trek: Discovery.” “Star Trek: Lower Decks'' and “Stephen Colbert Presents Tooning Out the News'' each received their first-ever Emmy nominations. -
Star Channels, Feb. 17-23
FEBRUARY 17 - 23, 2019 staradvertiser.com NOT-SO-FAKE NEWS John Oliver hosts a sixth season of HBO’s hard-hitting and hilarious newsmagazine Last Week Tonight with John Oliver. This unique mix of comedy and news is known for taking deep dives into important issues that are often overlooked by mainstream news outlets. This series has proven itself capable of infl uencing the political and cultural discourse, and Season 6 promises to shake things up even more. Premiering Sunday, Feb. 17, on HBO. WEEKLY NEWS UPDATE LIVE @ THE LEGISLATURE Join Senate and House leadership as they discuss upcoming legislation and issues of importance to the community. TUESDAY, 8:30AM | CHANNEL 49 | olelo.org/49 olelo.org ON THE COVER | LAST WEEK TONIGHT WITH JOHN OLIVER Oliver slays ‘Last Week Tonight’ is a perfect fit, and a mere three months after his stint as set his show apart from similar series in a few temporary host, it was announced that Oliver specific ways. Rather than rushing through a blend of news and humor would be creating a brand new show for the number of diverse topics, he chose to produce premium cable network. longer, more in-depth segments about issues By Kenneth Andeel In April 2014, “Last Week Tonight with John he and his writers felt strongly about. The fact TV Media Oliver” premiered, and in the time since its that “Last Week Tonight” is a weekly show also debut, the show has become a cultural touch- influenced its tone and content. Oliver and his hen John Oliver accepted corre- stone and a critical darling.