When Hub Brown’s students first told him they loved “The Daily Show with Jon Stewart” and sometimes even relied on it for news, he was, as any responsible journalism professor would be, appalled.
Now he’s a “Daily Show” convert.
“There are days when I watch ‘The Daily Show,’ and I kind of chuckle. There are days when I laugh out loud. There are days when I stand up and point to the TV and say, ‘You’re damn right!’” says Brown, chair of the communications department at Syracuse University’s S.I. Newhouse School of Public Communications and an associate professor of broadcast journalism.
Brown, who had dismissed the faux news show as silly riffing, got hooked during the early days of the war in Iraq, when he felt most of the mainstream media were swallowing the administration’s spin rather than challenging it. Not “The Daily Show,” which had no qualms about second-guessing the nation’s leaders. “The stock-in-trade of ‘The Daily Show’ is hypocrisy, exposing hypocrisy. And nobody else has the guts to do it,” Brown says. “They really know how to crystallize an issue on all sides, see the silliness everywhere.”
Whether lampooning President Bush’s disastrous Iraq policies or mocking “real” reporters for their credulity, Stewart and his team often seem to steer closer to the truth than traditional journalists. The “Daily Show” satirizes spin, punctures pretense and belittles bombast. When a video clip reveals a politician’s backpedaling, verbal contortions or mindless prattle, Stewart can state the obvious–ridiculing such blather as it deserves to be ridiculed–or remain silent but speak volumes merely by arching an eyebrow.
Stewart and his fake correspondents are freed from the media’s preoccupation with balance, the fixation with fairness. They have no obligation to deliver the day’s most important news, if that news is too depressing, too complicated or too boring. Their sole allegiance is to comedy.
Or, as “The Daily’s Show’s” Web site puts it: “One anchor, five correspondents, zero credibility. If you’re tired of the stodginess of the evening newscasts, if you can’t bear to sit through the spinmeisters and shills on the 24-hour cable news networks, don’t miss The Daily Show with Jon Stewart, a nightly half-hour series unburdened by objectivity, journalistic integrity or even accuracy.”
That’s funny. And obvious. But does that simple, facetious statement capture a larger truth–one that may contain some lessons for newspapers and networks struggling to hold on to fleeing readers, viewers and advertisers in a tumultuous era of transition for old media?
Has our slavish devotion to journalism fundamentals–particularly our obsession with “objectivity”–so restricted news organizations that a comedian can tell the public what’s going on more effectively than a reporter? Has Stewart, whose mission is to be funny, sliced through the daily obfuscation more effectively than his media counterparts, whose mission is to inform?
This is, perhaps, a strange premise for a journalism review to explore. AJR’s mission is to encourage rigorous ethical and professional standards, particularly at a time when fake news of the non Jon Stewart variety has become all too prevalent. Stewart’s faux news is parody, a sharp, humorous take on the actual events of the day, not to be confused with fake news of the Jayson Blair, Jack Kelley, National Guard memos or even WMD variety, based only loosely on actual events yet presented as real news.
As I posed my question about lessons of “The Daily Show” to various journalism ethicists and professionals, some carefully explained why mainstream news organizations should refrain from engaging in such whimsy.
Ed Fouhy, who worked for all three broadcast networks in his 22-year career as a producer and network executive before retiring in 2004, is a regular “Daily Show” watcher. “Sometimes conventional journalism makes it difficult for a journalist to say what he or she really thinks about an incident. Sometimes you can cut closer to the bone with another form, another creative form, like a novel or a satire on television,” Fouhy says. “I think what we’re seeing is just a daily dose of it. You think back to ‘Saturday Night Live,’ and they’ve satirized the news for a long time with their ‘Weekend Update.’ ‘That Was the Week That Was’ was an early television satire on the news.”
But Fouhy cringes at the idea that real journalists should model themselves after such a show. When readers pick up a newspaper or viewers turn on a news broadcast, they’re looking for serious information, and they should be able to find it. “When you begin to blur the line..to attract more viewers and younger viewers, I think that’s a lousy idea,” he says.
Adds Robert Thompson, director of the Bleier Center for Television and Popular Culture at Syracuse University, “Journalists have a really inconvenient thing they’ve got to go through: a process of trying to get [the story] right… I don’t think journalists should try to be more hip. Journalists have to learn the one lesson which is important, which is to try to get it right.”
Fouhy and Thompson are correct, of course. But Thompson’s colleague Hub Brown and some others interviewed for this piece believe the lesson of “The Daily Show” is not that reporters should try to be funny, but that they should try to be honest.
“Stop being so doggone scared of everything,” Brown advises journalists. “I think there is much less courageousness than there needs to be. There are people out there who stick out because of their fearlessness. Somebody like Lara Logan at CBS,” the network’s chief foreign correspondent who has reported extensively from Iraq and Afghanistan, “is a great example who is fearless about saying the truth.”
In the hours and days following Hurricane Katrina, state and federal officials dithered while New Orleanians suffered inside the filth and chaos of the Louisiana Superdome. Many journalists, notably CNN’s Anderson Cooper, jettisoned their usual care in handling all sides equally. They were bewildered, appalled and furious, and it showed.
“We saw a lot of that during Hurricane Katrina, but it shouldn’t take a Hurricane Katrina to get journalists to say the truth, to call it as they see it,” Brown says. “The thing that makes ‘The Daily Show’ stick out is they sometimes seem to understand that better than the networks do.” He adds: “I think it’s valuable because when the emperor has no clothes, we get to say the emperor has no clothes. And we have to do that more often here… The truth itself doesn’t respect point of view. The truth is never balanced… We have to not give in to an atmosphere that’s become so partisan that we’re afraid of what we say every single time we say something.”
Venise Wagner, associate chair of the journalism department at San Francisco State University, argues with her students over whether “The Daily Show” is real journalism. They think it is; she tells them it isn’t, explaining that journalism involves not just conveying information but also following a set of standards that includes verification, accuracy and balance.
But she says “The Daily Show” does manage to make information relevant in a way that traditional news organizations often do not, and freedom from “balance” shapes its success. “‘The Daily Show’ doesn’t have to worry about balance. They don’t have to worry about accuracy, even. They can just sort of get at the essence of something, so it gives them much more latitude to play around with the information, to make it more engaging,” Wagner says. “Straight news sometimes places itself in a box where it doesn’t allow itself–it doesn’t give itself permission to question as much as it probably should question.” Instead, the exercise becomes one of: “I’m just going to take the news down and give it to you straight.”
But what exactly is straight news, and what is balance? Is balance a process of giving equal weight to both sides, or of giving more weight to the side with more evidence? Does accuracy mean spelling everybody’s name right and quoting them correctly, or does it also mean slicing to the heart of an issue? “Nowhere is the comedy show balanced,” says Wagner, “but it allows them more balance in showing what is really going on.”
As journalists, by contrast, “We’ve presented a balanced picture to the public. But is it accurate? Is it authentic?” She cites coverage of the global warming debate, which, until recently, often was presented as an equal argument between scientists who said global warming was occurring and scientists who denied it. “That reality was not authentic. There were very few scientists who refuted the body of evidence” supporting global warming, Wagner says, yet the coverage did not always reflect that.
Martin Kaplan, associate dean of the University of Southern California’s Annenberg School for Communication, dislikes journalists’ modern perception of balance. “Straight news is not what it used to be,” he says. “It has fallen into a bizarre notion that substitutes something called ‘balance’ for what used to be called ‘accuracy’ or ‘truth’ or ‘objectivity.’ That may be because of a general postmodern malaise in society at large in which the notion of a truth doesn’t have the same reputation it used to, but, as a consequence, straight journalists both in print and in broadcast can be played like a piccolo by people who know how to exploit that weakness.
“Every issue can be portrayed as a controversy between two opposite sides, and the journalist is fearful of saying that one side has it right, and the other side does not. It leaves the reader or viewer in the position of having to weigh competing truth claims, often without enough information to decide that one side is manifestly right, and the other side is trying to muddy the water with propaganda.”
Kaplan directs USC’s Norman Lear Center, which studies how journalism and politics have become branches of entertainment, and he has worked in all three worlds: former editor and columnist for the now-defunct Washington Star; chief speechwriter for Vice President Walter Mondale; deputy presidential campaign manager for Mondale; Disney studio executive and motion picture and television producer.
He borrows Eric Alterman’s phrase “working the ref” to illustrate his point about balance. Instead of “reading a story and finding out that black is black, you now read a story and it says, ‘Some say black is black, and some say black is white.’.. So whether it’s climate change or evolution or the impact on war policy of various proposals, it’s all being framed as ‘on the one hand, on the other hand,’ as though the two sides had equal claims on accuracy.”
Therein lies “The Daily Show’s” appeal, he says. “So-called fake news makes fun of that concept of balance. It’s not afraid to have a bullshit meter and to call people spinners or liars when they deserve it. I think as a consequence some viewers find that helpful and refreshing and hilarious.”
In addition to the user-generated satire on YouTube, Kaplan thinks the Web is bursting with commentators, including Alterman and Salon’s Glenn Greenwald, who brilliantly penetrate the fog–sometimes angrily, sometimes amusingly, sometimes a bit of both.
Broadcasters have tackled this least successfully, he says, citing CBS’ ill-fated “Free Speech” segment. Launched on and then discarded from “The CBS Evening News with Katie Couric,” the segment gave personalities such as Rush Limbaugh uninterrupted airtime to trumpet their views. And “the challenge for the great national papers,” Kaplan adds, “is to escape from this straightjacket in which they’re unable to say that official A was telling the truth, and official B was not.”
Part of “The Daily Show’s” charm comes from its dexterity in letting public figures from Bush to House Speaker Nancy Pelosi (D-Calif.) speak for–and contradict–themselves, allowing the truth to emanate from a politician’s entanglement over his or her own two feet. It’s one way to hold government officials accountable for their words and deeds. Some might even call it fact-checking.
Brooks Jackson directs FactCheck.org, a project of the Annenberg Public Policy Center of the University of Pennsylvania, which monitors the accuracy of prominent politicians’ statements in TV ads, debates, speeches, interviews and press releases. Jackson himself is a former reporter for the Associated Press, Wall Street Journal and CNN who pioneered “ad watch” coverage at the cable network during the ‘92 presidential race.
“I’m totally buying it,” he told me after I stumbled through my fake-news-gets-at-the-truth-better premise. “I am in awe of the ability of Stewart and however many people he has working for him to cull through the vast wasteland of cable TV and pick out the political actors at their most absurd. They just have an unerring eye for that moment when people parody themselves. And I guess while the cable news hosts are obliged to take those moments of idiocy seriously, Jon Stewart can give us that Jack Benny stare–Does anybody remember Jack Benny?–give us that Jon Stewart stare and let the hilarity of the moment sink in, often without saying a word.”
Does this qualify as fact-checking? Not exactly, Jackson replies, but “one thing he does do that is fact-checking: If somebody says, ‘I never said that,’ and next thing you know, there’s a clip of the same guy three months ago saying exactly that, that’s great fact-checking,” and a great lesson for journalists. Jackson thinks NBC’s Tim Russert is the master of that art in the mainstream media, confronting his subjects as he puts their quotes on-screen and reading them verbatim. “Stewart does it for laughs, and Russert does it for good journalistic reasons, and we all can learn from the two of them.”
The form has its limits as a fact-checking technique. Jackson doesn’t envision Stewart giving a State of the Union address rigorous ad-watch-type treatment, complete with statistical analysis of the president’s proposed budget. Why would he? He’d put his audience to sleep. “Not every misleading statement can be debunked out of the person’s own mouth,” notes Jackson. “That’s a particular kind of debunking that’s very effective as comedy… There’s plenty that needs debunking that isn’t funny.”
Asked about Stewart’s influence on mainstream reporters, Jackson says: “Jon’s been holding up the mirror to them for quite a while without any particular effect. The forces that are making the news more trivial and less relevant are frankly much more powerful than a show like Jon Stewart’s can change.”
Much of the allure of Stewart’s show lies in its brutal satire of the media. He and his correspondents mimic the stylized performance of network anchors and correspondents. He exposes their gullibility. He derides their contrivances.
On March 28, the broadcast media elite partied with their government sources at the annual Radio and Television Correspondents’ Association dinner. The disquieting spectacle of White House adviser Karl Rove rapping in front of a howling audience of journalists quickly appeared on YouTube. Quipped Stewart, only too accurately, the next night: “The media gets a chance to, for one night, put aside its cozy relationship with the government for one that is, instead, nauseatingly sycophantic.”
His 2004 textbook satire, “America (The Book): A Citizen’s Guide to Democracy Inaction,” devotes a section to media in the throes of transformation and punctures this transition far more concisely, and probably more memorably, than the millions of words AJR has devoted to the subject:
“Newspapers abound, and though they have endured decades of decline in readership and influence, they can still form impressive piles if no one takes them out to the trash… Television continues to thrive. One fifteen-minute nightly newscast, barely visible through the smoky haze of its cigarette company benefactor, has evolved into a multi-channel, twenty-four hour a day infotastic clusterfuck of factish-like material. The 1990s brought the advent of a dynamic new medium for news, the Internet, a magnificent new technology combining the credibility of anonymous hearsay with the excitement of typing.”
Phil Rosenthal, the Chicago Tribune’s media columnist, thinks part of the reason “The Daily Show” and its spinoff, “The Colbert Report,” resonate is that they parody not only news but also how journalists get news. “It’s actually kind of a surefire way to appeal to people because if the news itself isn’t entertaining, then the way it’s covered, the breathless conventions of TV news, are always bankable,” Rosenthal says. “You can always find something amusing there.”
He adds that “so much of the news these days involves managing the news, so a show like Stewart’s that takes the larger view of not just what’s going on, but how it’s being manipulated, is really effective. I think there’s a general skepticism about the process that this plays into… The wink isn’t so much we know what’s really going on. The wink is also we know you know what we’re doing here. It’s down to the way the correspondents stand [in front of] the green screen, offering commentary and intoning even when their commentary may not be important.”
Irony-deficient journalists have rewarded Stewart over the last five years by devoting more than 150 newspaper articles alone to his show and to studies about his show. Most have discussed the program’s popularity. (”The Daily Show” attracted an average 1.5 million viewers nightly from January 1 through April 19, according to Nielsen Media Research. Couric’s beleaguered CBS newscast, by contrast, netted an average 7.2 million viewers nightly during the same period.)
Many stories have pondered whether “The Daily Show” has substance and credibility; mourned young people’s alleged propensity to rely on such lighthearted fare for news; brooded over what this reliance says about the state of the news media; and grieved that the show poisons young people’s outlook on government, leaving them cynical and jaded. Stewart, who declined to be interviewed for this article, has patiently explained that his show is supposed to be funny.
That hasn’t stopped the onslaught of serious discourse and research about “The Daily Show.” A 2004 survey by the Pew Research Center for the People and the Press found that 21 percent of people age 18 to 29 cited comedy shows such as “The Daily Show” and “Saturday Night Live” as places where they regularly learned presidential campaign news, nearly equal to the 23 percent who regularly learned something from the nightly network news or from daily newspapers.
Even if they did learn from his show, a more recent study indicates Stewart’s viewers are well-informed. An April 15 Pew survey gauging Americans’ knowledge of national and international affairs found that 54 percent of regular viewers of “The Daily Show” and “Colbert Report” scored in the high-knowledge category, tying with regular readers of newspaper Web sites and edging regular watchers of “The NewsHour with Jim Lehrer.” Overall, 35 percent of people surveyed scored in the high-knowledge category.
In October, Julia R. Fox, who teaches telecommunications at Indiana University, and two graduate students announced the results of the first scholarly attempt to compare Stewart’s show with traditional TV news as a political information source. Their study, which will be published this summer by the Journal of Broadcasting & Electronic Media, examined substantive political coverage in 2004 of the first presidential debate and political conventions on “The Daily Show” and the broadcast television networks’ nightly newscasts. Fox concluded Stewart’s show is just as substantive as network news.
Fox says she wasn’t surprised by the study results, but she was surprised by the general lack of surprise. “People have e-mailed me and said, ‘I think you’re absolutely wrong. I think ‘The Daily Show’ is more substantive.’ ”
Beyond the debate over whether Stewart’s show is a quality source of information or whether wayward young fans have lost their minds, the media have treated him with admiration bordering on reverence. In early 2005, press reports handicapped his chances of landing on the “CBS Evening News,” which, like Comedy Central, was then owned by Viacom. After Dan Rather had announced his abrupt retirement following revelations that alleged memos about President Bush’s National Guard Service had not been authenticated, CBS chief Leslie Moonves said he wanted to reinvent the evening news to make it more relevant, “something that younger people can relate to.” Asked at a news conference whether he’d rule out a role for Stewart, Moonves took a pass, fueling more speculation.
In 2004, the Television Critics Association bestowed the outstanding achievement in news and information award not on ABC’s “Nightline” or PBS’ “Frontline,” but on “The Daily Show.” Stewart, who had won for outstanding achievement in comedy the previous year, seemed bemused by the honor. Instead of accepting in person, he sent a tape of himself sitting at “The Daily Show” anchor desk. “We’re fake,” he informed the TV critics. “See this desk?.. It folds up at the end of the day, and I take it home in my purse.”
But Melanie McFarland, the critic who presented Stewart’s award, calls him a “truth teller” who speaks plainly about the news and offers a “spoonful of sugar that helps the medicine, the news, go down.”
That sugar is not just delightful; it’s provocative. “Any comedian can do sort of a ‘Saturday Night Live’ presentation and just do the punch line,” says McFarland, who writes for the Seattle Post-Intelligencer. “He actually gives you some stuff to consider in addition to the punch line. He and his staff show an awareness of the issues and [are] able to take a longer view than a 24-hour news cycle can, which is funny because it’s also a daily show.” Other news programs and journalists, including “Frontline” and Bill Moyers, do this also, she says, but not as often. “So much of the news is not digestion but regurgitation. He’s sort of looking at the raw material and making a common-sense assessment of what it means.”
McFarland says Stewart’s mockery of the media should galvanize journalists to perform better. “If there’s a guy who’s making great headway in giving people information by showing people what you’re not doing in giving them information, let’s try to do our jobs.”
For serious news organizations, change is easier advised than enacted. Take Stewart’s imitation of the stylized anchor persona, which–with precious little exaggeration–makes TV personalities look silly and stilted. Altering that persona is no easy task, as Katie Couric discovered when she tried to make the nightly news chattier.
“While Jon Stewart is a guy in a suit pretending to be a newscaster, and he acts like a guy in a suit pretending to be a newscaster, there’s a certain formality and rigidity we’ve come to expect from our news, so much so that when Katie Couric opens the news with ‘Hi,’ or now I think it’s ‘Hello,’ this is thought of as some kind of breakdown in the proper etiquette of newscasting,” says the Chicago Tribune’s Rosenthal. He thinks perhaps the time has come to abandon the old formality of newscasting but says such a process will be evolutionary.
In other broadcast formats, incorporating a more sardonic tone can work well. Rosenthal cites MSNBC’s “Countdown with Keith Olbermann” as one news program that does a pretty good job incorporating the same sorts of elements that make “The Daily Show” successful. “Keith Olbermann gets a lot of attention for his editorializing, but the meat of that show is this hybrid blend of the news you need to know, the news that’s entertaining, with a little bit of perspective [in] taking a step back from what the news is and what the newsmakers want it to be,” he says. (See Is Keith Olbermann the Future of Journalism?” February/March.)
Rosenthal thinks ABC’s quirky overnight show, “World News Now,” also has achieved a more detached, looser tone, and says it’s no accident that the program has been “such a fertile breeding ground for unorthodox newspeople,” including Anderson Cooper and Aaron Brown.
Public radio, known for its sober (and sometimes stodgy) programming, is experimenting with a more freewheeling search for truth as well. In January, Public Radio International launched “Fair Game from PRI with Faith Salie,” a one-hour satirical news and entertainment show that airs on weeknights. The Sacramento Bee’s Sam McManis likened the new show to “the quirky love child of ‘The Daily Show With Jon Stewart’ and ‘All Things Considered.’ It’s smart enough to slake the traditional public-radio fans’ thirst for intellectual programming but satiric enough to catch the attention of the prematurely cynical Gen X and Gen Y sets.”
Salie is a comedian and a Rhodes Scholar with a bachelor’s degree from Harvard and a master of philosophy from Oxford in modern English literature. “I’m not a journalist, and I don’t have to pretend to be one,” she says, describing herself as her listeners’ proxy. When she interviews newsmakers–topics have included the Taliban, Hillary Clinton and the Dixie Chicks – “I don’t feel like I have to mask my incredulousness. I can say, ‘For real? Are you kidding me?’ That leads to spontaneity.”
Sometimes humor results from a certain framing of the news. Each Monday, the show revisits metaphors from the Sunday morning news shows. On “Fox News Sunday” on April 8, Juan Williams first compared Republican presidential hopeful John McCain to a “deflated balloon,” then declared the Arizona senator was on the “wrong path” with his Iraq policy and concluded that he shouldn’t be “tying his tail” to such an albatross. On NBC’s “Meet the Press,” Judy Woodruff in January described the administration’s Iraq policy as akin to “putting a fist in a sink full of water, leaving it there for a few minutes and taking it out.”
Salie says “The Daily Show” has demonstrated that young people are savvier than many elders believe, and the mainstream media should learn from that. Young people “are aware of the news and can recognize the preposterousness of some of it.” But don’t try too hard to be funny, she cautions. “I don’t think real news shows should try the scripted, cutesy, pithy banter. It gives me the heebie-jeebies. It makes me feel sad for them, and it feels pathetic.”
For an informal, satirical or even humorous take on the news to work in a mainstream newspaper, the format must be exactly right. Gene Weingarten, the Washington Post humor writer, thinks the media would do their jobs better if they had more fun, and he cringes whenever editors insist on labeling his pieces as satire. “Nothing could be worse for satire than labeling it satire,” he laments.
But he concedes his editors may have a point. In August, Paul Farhi, a reporter for the Post’s Style section (and an AJR contributor), reviewed the debut of colleague Tony Kornheiser on ESPN’s “Monday Night Football.” The critique was not flattering, and an apoplectic Kornheiser retaliated by publicly trashing Farhi as “a two-bit weasel slug,” whom he would “gladly run over with a Mack truck.”
The smackdown drew national attention, and Weingarten decided he wanted a piece of the action. So he skewered Kornheiser’s second show with an outrageous, over-the-top rant on the front of Style about the “failed Kornheiser stewardship” taking “yet another bumbling misstep toward its inevitable humiliating collapse.”
“It was patently unfair,” Weingarten says of his tongue-in-cheek diatribe, which was not labeled as satire. “A child would have understood this piece. No one could have misunderstood this.”
And yet they did. Weingarten got hundreds, possibly thousands, of complaints from sports lovers pummeling him for attacking Kornheiser unfairly. (Kornheiser himself called Weingarten, unsure how to interpret the piece.) “The mail I got was just absolutely hilarious,” Weingarten says. “There is a problem of applying irony, humorous satire, in a newspaper when readers are not accustomed to seeing it there.”
Did he learn from the experience? “No,” he replies. “Because my reaction was, ‘These people are idiots.’ ”
Perhaps the hardest lesson to take away from “The Daily Show” is the most important one. How can journalists in today’s polarized political climate pierce the truth, Edward R. Murrow-style, without a) being ideological, or b) appearing ideological?
Olbermann’s show, cited in several interviews as a serious news program that excels in revealing hypocrisy, is unabashedly liberal, and “The Daily Show” itself is frequently tagged with that label. In February, Fox News Channel debuted “The 1/2 Hour News Hour,” billed as the conservative riposte to Stewart’s liberal bent; after two pilot shows, the network has agreed to pick up 13 additional episodes.
“Unfortunately, people are heading for news that sort of re-inforces their own beliefs,” says Washington Post reporter Dana Milbank. “That may be Jon Stewart on the left, or that may be Rush Limbaugh on the right… Limbaugh isn’t funny, but he’s starting with something that has a kernel of truth and distorting it to the point of fakery as well, so I think they are parallel.”
Milbank is the author of Washington Sketch, an experiment at slashing through the hazy words and deeds of federal power players. Milbank pitched the idea, based on British newspapers’ parliamentary sketches, and argued for a few years before getting the green light in early 2005. “There was a lot of sort of figuring out the place, and first it really floated in the news section,” he says. “I think we fixed that problem [by] putting it consistently on page two, and it’s labeled more clearly.”
Occasionally, Washington Sketch has appeared on page one, as it did March 6 when Milbank tartly contrasted the style of two generals who testified before Congress on the deplorable conditions at Walter Reed Army Medical Center. Then and at other times, Milbank’s acerbic take has proved more enlightening than the longer, more traditional accompanying news story.
The column lacks a consistent ideology. Milbank says his goal is a “pox on both their houses sort of thing,” and adds, “I’m not trying to be 50-50, particularly. The goal is to pick on all of them… It’s observational as opposed to argumentative.” Too often, he says, “We seem to make the mistake of thinking that if you’re not being ideological, you therefore have to be boring, and all sort of 50-50 down the middle and follow the inverted pyramid.”
Jeff Jarvis, the blogger behind BuzzMachine.com, says journalists should engage in more open, honest conversations with readers. “I think what Stewart et al do is remind us of what our mission and voice used to be and should be,” says Jarvis, who also is a media consultant and head of the interactive journalism program at the City University of New York Graduate School of Journalism. He notes that Stewart is “very much a part of the conversation. He’s joking about things we’re talking about. And then the next day, we’re talking about him talking about it.”
Jarvis wants journalists to unleash their inner Stewart. “After enough drinks, reporters talk like Stewart: ‘You won’t BELIEVE what the mayor said today!’ Why don’t we talk to our readers that way?” he asks, and then acknowledges: “OK. There’s a lot of arguments: ‘The mayor won’t talk to us again.’ ‘It’s biased.’ ‘We don’t want to turn everything into blogs.’ ”
Jarvis doesn’t mean that every story should become a first-person diatribe, and obviously the mainstream media can’t fall back on Stewart’s I’m-just-joking excuse after they’ve infuriated a thin-skinned politician. But there are instances when a little unorthodoxy may be appropriate, and speaking frankly may enhance credibility.
Eric Deggans, the TV and media critic for the St. Petersburg Times, also wants to see a little more pluck. ” ‘The Daily Show’ is pushing us to be less traditional about how we deliver people information,” Deggans says. “Are we going to turn around and turn into the Onion?” (The cult publication parodies news in print and online; its facetious Onion News Network debuted on March 27.) “Of course not. But if you’ve got a longtime state capitol bureau chief, and they see something go down in the capitol, and they have a great, acerbic take on it, why not let them go at it in a column?”
Or, he suggests, experiment just a bit with the sacred space on page one. “Sometimes editors have really rigid ideas about what can go on the front page,” he says. “If somebody has a really good column on [Don] Imus, why wouldn’t you put it on the front page, as long as you label it clearly as opinion? There are some editors who would say your first next-day story about Don Imus has to be traditional. Why? Why does it have to be traditional? As long as the reader isn’t fooled, why do you let yourself be handcuffed like that?”
Deggans is quick to add some caveats, including the importance of fairness. “You always have to be careful because there’s a good reason why we had those rules,” Deggans says. “But we have to challenge ourselves to subvert them more often. You have to be subversive in a way that maintains your credibility. When you have smart, capable people who want to write in a different way, let them try it.”
The mainstream media can not, should not and never will be “The Daily Show.” The major news of our time is grimly serious, and only real news organizations will provide the time, commitment and professionalism necessary to ferret out stories such as the Washington Post’s exposé of neglected veterans at Walter Reed or the New York Times’ disclosures of secret, warrantless wiretapping by the federal government.
But in the midst of a transition, our industry is flailing. Our credibility suffers mightily. The public thinks we’re biased despite our reluctance to speak plainly. Our daily newspapers often seem stale. Perhaps “The Daily Show” can teach us little, but remind us of a lot: Don’t underestimate your audience. Be relevant. And be bold.
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