![]() In a sense, there is also greater diversity. In fact, there is a lot more news on television now than ever before. Proponents of deregulation assumed that the free market would bring forth an age of diversity in television programming. In Washington, meanwhile, the FCC was dismantling most of the regulatory framework that had been imposed on the television industry since its beginnings, especially the obligation vague, to be sure– to provide some minimum of serious public affairs programming. As outlined more fully elsewhere in this issue, this new source of competition, combined with other economic conditions, put a significant squeeze on network profits that has since come home to the news divisions in the form of an unprecedented concern with the bottom line. Its successful move into news was followed by the growth of cable, which began to erode the networks' audience share. In 1976 ABC began a successful drive to make its news division competitive with CBS and NBC. "When you mix fiction and news, you diminish the distinction between truth and fiction, and you wear down the audience's own discriminating power to judge."Ĭompetitive pressures began to impinge on network news in a serious way in the late l970s. 'Feel like you're getting a bad deal from poker-faced TV news reporters?" asked San Francisco's KGO in one ad, "Then let the Channel 7 Gang deal you in. Often it was contrasted directly with the network news. With numbers like that, news was much "too important" to leave to journalists, and a heavily entertainment-oriented form of programming began to evolve. By the end of the '70s, news was frequently producing 60 percent of a station's profits. It was the local stations that first discovered, late in the 1960s, that news could make money– lots of money. A recent edition of the news tabloid A Current Affair, for example, ended with the tease "Coming up – sex, murder and videotape, that's next!" It may be that this is indeed the future of television news. But taken together, they raise serious questions about the future of journalism in an entertainment-dominated medium. Not all the changes of these years have been for the worse. In the 1970s and '80s, however, the barrier between news and entertainment has been increasingly eroded. The "church" of news was to be separated from the "state" of entertainment. In the early 1960s the networks, hugely profitable but worried about their images and about regulatory pressures, expanded their news operations and largely freed them from the pressures of commercial television. The tension between journalism and commercialism goes back long before television, but it is felt with special intensity in television news today. ![]() You can catch the thrilling conclusion to Scandoval when the three-part reunion of VPR kicks off on Bravo on May 24.News has always mixed the serious and the entertaining. “I don’t want a camera in my fucking goddamn face.” Maybe he should have considered that before cheating on his girlfriend while starring on national television. “Both of you, poo-poo heads.” Hey, if the shoe fits.īy the end of the trailer, it’s clear that the name-calling has begun to get to Sandoval, who at one point is seen yelling at a producer outside a trailer. ![]() Subhuman.” Kennedy also has his own word for it: “Poo-poo head,” he says. Leviss admits to acting “super selfish” in light of the affair, but Madix would beg to differ. ( “I did not punch her,” claims Shay the restraining order has since been dismissed.) But really, it all comes back to Sandoval, Leviss, and Madix. Elsewhere in the trailer, VPR matriarch Lisa Vanderpump joins the fray, while cast member Scheana Shay breaks down in tears after being served a restraining order from Leviss, whom she allegedly hit after finding out about the affair.
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