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First the press became the media, and now the media have become the Imperial Media—or have they? In this timely and comprehensive analysis, Michael Robinson and Margaret Sheehan examine how the news media behaved (or misbehaved) in covering the 1980 presidential campaign. Using the media's own traditional standards as a guide, Robinson and Sheehan measure the level of objectivity, fairness, seriousness, and criticism displayed by CBS News and United Press International between January and December of 1980. Drawing on statistical analyses of almost 6,000 news stories and dozens of interviews with writers and reporters, the authors reach convincing and sometimes surprising conclusions. They demonstrate, for example, that both CBS and UPI strictly avoided subjective assessments of the candidates and their positions on the issues. Both gave the major parties remarkably equal access. But the media seem to give more negative coverage to front-runners, treating serious challengers less harshly. Perhaps the most surprising finding is that networks were not more superficial than print; CBS attended to the issues at least as often as UPI. Robinson and Sheehan find television coverage more subjective, more volatile, and substantially more negative than traditional print. But CBS behaved neither imperially nor irresponsibly in Campaign '80. The networks did, however, emulate the more highly charged journalism of the eastern elite print press. By blending the quantitative techniques of social science and the tools of Washington-based journalism, Robinson and Sheehan have produced a book that will be essential reading for students and practitioners of politics, public opinion research, journalism, and communications. Lively and readable, it should also appeal to anyone interested in the role of the news media in contemporary politics.
This New York Times bestselling book is filled with hundreds of fun, deceptively simple, budget-friendly ideas for sprucing up your home. With two home renovations under their (tool) belts and millions of hits per month on their blog YoungHouseLove.com, Sherry and John Petersik are home-improvement enthusiasts primed to pass on a slew of projects, tricks, and techniques to do-it-yourselfers of all levels. Packed with 243 tips and ideas—both classic and unexpected—and more than 400 photographs and illustrations, this is a book that readers will return to again and again for the creative projects and easy-to-follow instructions in the relatable voice the Petersiks are known for. Learn to trick out a thrift-store mirror, spice up plain old roller shades, "hack" your Ikea table to create three distinct looks, and so much more.
Epic, multi-layered, morally challenging and action-packed - The Wire is everything a TV programme should be and more. A cult hit in the US and Britain, it has thousands of committed fans willing to engage in endless debates. Once you've watched it, you'll be drawn in, too: Is Omar Little the coolest criminal since Robin Hood? Which series has the best theme tune? Will Bubbles survive Baltimore? Avon or Stringer? This book collects the thoughts of Guardian journalists and the readers of the Guardian's Wire Re-up blog and combines them with interviews with the show's creators and stars and the all important xxx ratings, to bring you a more than fitting eulogy that will follow the airing of the show's final season.
From the creator of HBO's The Wire, the classic book about homicide investigation that became the basis for the hit television show The scene is Baltimore. Twice every three days another citizen is shot, stabbed, or bludgeoned to death. At the center of this hurricane of crime is the city's homicide unit, a small brotherhood of hard men who fight for whatever justice is possible in a deadly world. David Simon was the first reporter ever to gain unlimited access to a homicide unit, and this electrifying book tells the true story of a year on the violent streets of an American city. The narrative follows Donald Worden, a veteran investigator; Harry Edgerton, a black detective in a mostly white unit; and Tom Pellegrini, an earnest rookie who takes on the year's most difficult case, the brutal rape and murder of an eleven-year-old girl. Originally published fifteen years ago, Homicide became the basis for the acclaimed television show of the same name. This new edition—which includes a new introduction, an afterword, and photographs—revives this classic, riveting tale about the men who work on the dark side of the American experience.
"An oral history of HBO"s The Wire"--
The 10th anniversary edition, now with a new preface by the author "A wonderfully smart, lively, and culturally astute survey." - The New York Times Book Review "Grand entertainment...fascinating for anyone curious about the perplexing miracles of how great television comes to be." - The Wall Street Journal "I love this book...It's the kind of thing I wish I'd been able to read in film school, back before such books existed." - Vince Gilligan, creator of Breaking Bad and co-creator of Better Call Saul In the late 1990s and early 2000s, the landscape of television began an unprecedented transformation. While the networks continued to chase the lowest common denominator, a wave of new shows on cable channels dramatically stretched television’s narrative inventiveness, emotional resonance, and creative ambition. Combining deep reportage with critical analysis and historical context, Brett Martin recounts the rise and inner workings of this artistic watershed - a golden age of TV that continues to transform America's cultural landscape. Difficult Men features extensive interviews with all the major players - including David Chase (The Sopranos), David Simon and Ed Burns (The Wire), David Milch (NYPD Blue, Deadwood), Alan Ball (Six Feet Under), and Vince Gilligan (Breaking Bad, Better Call Saul) - and reveals how television became a truly significant and influential part of our culture.
Many television critics, legions of fans, even the president of the United States, have cited The Wire as the best television series ever. In this sophisticated examination of the HBO serial drama that aired from 2002 until 2008, Linda Williams, a leading film scholar and authority on the interplay between film, melodrama, and issues of race, suggests what exactly it is that makes The Wire so good. She argues that while the series is a powerful exploration of urban dysfunction and institutional failure, its narrative power derives from its genre. The Wire is popular melodrama, not Greek tragedy, as critics and the series creator David Simon have claimed. Entertaining, addictive, funny, and despairing all at once, it is a serial melodrama grounded in observation of Baltimore's people and institutions: of cops and criminals, schools and blue-collar labor, local government and local journalism. The Wire transforms close observation into an unparalleled melodrama by juxtaposing the good and evil of individuals with the good and evil of institutions.
The first collection of critical essays on HBO's The Wire - the most brilliant and socially relevant television series in years The Wire is about survival, about the strategies adopted by those living and working in the inner cities of America. It presents a world where for many even hope isn't an option, where life operates as day-to-day existence without education, without job security, and without social structures. This is a world that is only grey, an exacting autopsy of a side of American life that has never seen the inside of a Starbucks. Over its five season, sixty-episode run (2002-2008), The Wire presented several overlapping narrative threads, all set in the city of Baltimore. The series consistently deconstructed the conventional narratives of law, order, and disorder, offering a view of America that has never before been admitted to the public discourse of the televisual. It was bleak and at times excruciating. Even when the show made metatextual reference to its own world as Dickensian, it was too gentle by half. By focusing on four main topics (Crime, Law Enforcement, America, and Television), The Wire: Urban Decay and American Television examines the series' place within popular culture and its representation of the realities of inner city life, social institutions, and politics in contemporary American society. This is a brilliant collection of essays on a show that has taken the art of television drama to new heights.