Shock and Awe

 

Rob Reiner’s Shock and Awe offers a dramatized but important retelling of how a small team of journalists at Knight Ridder questioned the U.S. government's push for war in Iraq in 2003. While most of the mainstream media blindly accepted the administration’s claims about weapons of mass destruction, Knight Ridder reporters stood almost alone in demanding evidence and challenging the official narrative. Their work represents a rare but vital moment in modern journalism when truth triumphed over popularity.

The film highlights a stark contrast between the behavior of the Knight Ridder journalists and many of their peers in larger news organizations. While reporters like Jonathan Landay and Warren Strobel questioned the intelligence being presented and sought alternative sources, major outlets like The New York Times and The Washington Post often acted more as amplifiers for the White House than as skeptical watchdogs. The press’s failure in the lead up to the Iraq War serves as a reminder of what can happen when journalists do not question authority.

Naturally, conflict arose between the press and the government during this pre war period. The Bush administration was determined to control the narrative, using fear and patriotism to build public support for military action. Any journalist who dared to push back risked being labeled unpatriotic or even accused of siding with America’s enemies. This placed reporters in a difficult position: do they tell the public what the government wants them to hear, or do they dig deeper for the truth, even at the cost of their reputation or career?

The Knight Ridder team faced not only government pressure but also resistance from within the media world. Their investigations was largely ignored or dismissed by other outlets and government officials alike. Despite publishing accurate and well-sourced story’s, they were treated like outsiders. This isolation only underscore the courage it took for them to stick to there journalistic principles when everyone else seemed to fall in line.

In today’s world, the Knight Ridder journalists should be viewed as hero’s not just by fellow journalist’s but also by the public. They upheld the values of truth, accountability and skepticism. Their actions serves as a benchmark for how the press should behave in a democracy; not as a mouthpiece for power but as a check on it.

Parallels to today are easy to find. In the age of misinformation, polarized politics, and social media driven narratives, the tension between the press and government continues. Whether it's issues of election integrity, public health, or foreign policy, journalists still face pressure to go along with dominant narratives. The lesson from Shock and Awe is that real journalism means asking tough questions, even when it’s unpopular.

While hindsight may be 20/20, it should not excuse the media's failures during the Iraq War. Instead, it should remind current and future journalists that skepticism, persistence, and courage are not optional they are essential. The press must learn from the past, or risk repeating it.

ET 2 Reacts (fashion journ. + gossip coul)

This article gives a really interesting look at how gossip columns and fashion journalism have changed over time. I didn’t realize that gossip writing had such a long history, going all the way back to James Gordon Bennett. It’s surprising how much people have always cared about the lives of the rich and famous. What’s even more interesting is how these gossip columns went from being just one part of a newspaper to becoming the main focus of magazines like People and US Weekly.

Hedda Hopper stood out to me. She used her role as an actress to write gossip about other celebrities and even helped boost movie sales by creating drama between stars. That reminds me of today’s influencers and online drama, where gossip is used to gain followers and attention. As Ferris (2019) explains, gossip is now used as a kind of marketing strategy on social media.

The fashion journalism section was also very eye-opening. I didn’t know that Vogue was first a small, cheap magazine that focused on New York’s upper class. Now, it’s a huge global brand that everyone in fashion pays attention to. The fact that magazines like Vogue can make a model or designer famous shows how much power they have in shaping trends. As Steele (2012) points out, fashion magazines don’t just report on trends they help create them.

Overall, this article helped me understand how both gossip and fashion journalism have stayed important by changing with the times. Even though the platforms are different today, the goal of keeping people entertained and informed has stayed the same.

Mid Term Reaction

     So far, this journalism class has given me a deeper understanding of both the history of journalism and the core freedoms that support it. We’ve covered everything from the colonial press up to the 1980s, exploring how journalism evolved through different eras. While there were many important moments, the part that interested me the most was the Penny Press Era, because it showed how journalism became something for everyday people not just the wealthy.

The Penny Press Era began around 1833, when Benjamin Day launched The Sun in New York City and sold it for just one penny much cheaper than the six cent papers common at the time. Thanks to steam powered printing, Day saw the potential in offering simple, affordable news for the masses. This change made newspapers widely available and helped spark a wave of competition between publishers.

One of those competitors was James Gordon Bennett, who founded the New York Herald in 1835. Instead of focusing on big national stories, he prioritized local news, changing the way journalism served its audience. Soon after, Horace Greeley launched the New York Tribune in 1841. Unlike others who relied on sensational stories, Greeley focused on rational, issue based reporting, which gave people a more thoughtful way to engage with current events.

The Penny Press also brought about new technology like half tone images, which made it possible to print photographs. This made newspapers more visual and engaging, but it also led to the rise of sensationalism something we still see today with clickbait and flashy headlines.

Along with this history, we also learned about the First Amendment, and how it protects the freedoms that make journalism possible. The six freedoms freedom of religion, freedom from religion, speech, press, assembly, and petition are the foundation of our democracy. We studied the “shield” graphic of the First Amendment too, which is shaped like a triangle. Each point connects freedoms that work together, and in the center is the zone of autonomy—the personal space where we can express ourselves freely.

Understanding these freedoms, along with concepts like compelled speech and the state action doctrine, has helped me better understand my rights not just as a citizen, but as a future journalist. This class has already made me more aware of journalism’s power and responsibility, and I’m excited to keep learning more.

5 Star Final Reaction

 

Five Star Final directed by Mervyn LeRoy, is a drama that looks at the dark side of tabloid journalism. The story follows Joseph W. Randall who is a newspaper editor who is under pressure to increase sales. To fix it he brings back an old scandal involving Nancy Townsend, a woman who has tried to move on from a murder case in her past. Her story is published and the media attention becomes too much for her, leading her to kill herself. Her husband dies by suicide too.

This heartbreaking story shows how harmful it can be when the media chooses profit over people. Randall knows that reprinting Nancy’s story is wrong but he feels trapped by the demands of his boss. Edward G. Robinson plays Randall and does a great job showing how guilty and conflicted he feels. There’s even a scene where Randall washes his hands over and over which shows how badly he wants to be free of guilt.

The film also includes a creepy reporter Reverend T. Vernon Isopod played by Boris Karloff. He tricks Nancy’s family by pretending to be someone who cares but really he just wants a juicy story. His actions shows how low some journalists will go to get a headline. 

Even though Five Star Final was made almost 100 years ago its message is still important today. These days we still see news outlets using people’s pain and private lives just to get more clicks or views. The movie warns us about this kind of journalism and asks us to think about where we draw the line between reporting the news and hurting people.

Experts today still talks about the same issues the film brings up. For example, journalism scholar Matthew Harris (2021) says that the media should care not just about the facts but also about avoiding harm to people. Campbell (2001) explains that newspapers during the early 1900s often used shocking headlines and dramatic stories to sell papers even if it meant hurting others. Kovach and Rosenstiel (2021) also argue that journalists have a duty to respect the truth and treat people with fairness and dignity. These ideas connect closely to the message of Five Star Final.

The movie also uses strong visuals to make its point. In the final scenes newspapers are seen floating in the gutter suggesting that the damage caused by bad journalism eventually ends up in the trash where it belongs. It’s a simple but powerful image.

Even though the film has some slow parts and feels dated in some ways its main message still hits home. Five Star Final is more than just an old movie. It’s a reminder that journalism has real power and that power should be used responsibly. It challenges viewers to think about how the media affects people’s lives and whether selling papers or getting clicks is ever worth the human cost.

Final Post Prompt

David Makenzie Ogilvy changed advertising forever in the 1900s, earning his title "The Father of Advertising" through fresh ideas, strong beliefs, and business smarts. While many ad folks made their mark, few match Ogilvy's lasting impact. Born 1911 in England, Ogilvy took an unusual path to ad fame. Before starting his agency in '48, he cooked in Paris, sold door-to-door, and farmed in Pennsylvania. These jobs shaped his practical view of advertising. Ogilvy once said, "The consumer isn't a moron; she is your wife. You insult her intelligence if you assume that a mere slogan and a few vapid adjectives will persuade her to buy anything" (Ogilvy, 1963). This respect for customers made him different when most ads just used catchy phrases

 Ogilvy's importance goes beyond those famous Rolls Royce and Schweppes campaigns. His real gift was treating ads as both art and science. When others followed creative hunches, Ogilvy demanded results. He pioneered using research and data for creative decisions, arguing advertisers should "never stop testing, and your advertising will never stop improving" (Roman, 2009). This approach changed how agencies operated. Maybe most important - Ogilvy's honesty still feels fresh today, years after his '99 death. In an industry often called manipulative, he believed ads should be truthful and help both companies and customers. His agency valued integrity, shown in his famous words: "Never write an advertisement which you wouldn't want your family to read. You wouldn't tell lies to your own wife. Don't tell them to mine" (Maples, 2016). 

Ogilvy's ideas live on through Ogilvy and Mather's worldwide success as one of the biggest ad networks. His books, "Confessions of an Advertising Man" and "Ogilvy on Advertising," remain essential reading for marketing folks everywhere

What makes Ogilvy truly significant is how he elevated advertising from just selling stuff to respected work with principles, research, and customer respect. While the industry constantly chases trends, his focus on basics clear messages, honest persuasion, and measurable results still matters. Even with totally different tech and platforms since Ogilvy's time, his insights about psychology and communication still guide today's marketers. Ogilvy wasn't just brilliant at crafting ads - he transformed how we think about advertising itself. His methods seen obvious now only because they worked so well that they became industry standard. By insisting on research-backed creativity and ethical practices, he gave advertising both scientific credibility and moral backbone.

The legacy of this chef turned farmer turned advertiser isn't just the iconic campaigns or the global agency bearing his name it's the fundamental belief that good advertising respects its audience, serves real needs, and can be both profitable and principled. In today's world of targeted algorithms and social media influence, Ogilvy's human centered approach feels more relevant than ever.

EOTO #1 reaction

As a college student hearing the presentation about yellow journalism opened my eyes to how much the news has changed. It’s crazy to think that over 100 years ago newspapers were already using rumors and emotions to sell stories, even if those stories weren’t true. The example about the USS Maine is a perfect one. People thought Spain attacked an American ship without any real proof. Newspapers used that story to get people angry and push the U.S. into war. That just shows how powerful the media can be when it plays with people’s emotions.

What’s scary is that we still see this kind of reporting today. With the internet and constant news updates it’s super easy for false information to spread fast. There have been plenty of times where they had to go back and fix or delete stories that were wrong. People stop trusting the news and when we lose trust in the news it hurts our democracy because we can’t make choices without real facts.

The passage also made me think about how news companies care more about views and money than getting the facts right. Sensational headlines grab attention, and the more clicks a story gets, the more money it makes. So instead of quality news, we’re flooded with stuff that’s just meant to make us mad or scared. It’s like we’ve gone back in time to when newspapers were doing the same thing just to sell more copies.

One thing that really stuck with me from the passage is the idea that “history repeats itself.” We’ve seen how bad things can get when the media spreads false stories just to get people worked up. It caused war in the past, and today, it’s causing division and confusion. As young people, we need to pay more attention to what we’re reading and where it’s coming from. We have to be smart about how we get our news.

EOTO #1 The Pioneer of Modern Journalism

Today, I want to introduce you to a man whose impact on journalism shaped the way we receive news. Henry Jarvis Raymond was a journalist, a political leader, a media innovator, and the co-founder of The New York Times. His dedication to reporting and political reform set the foundation for modern journalism.

Raymond was born on January 24, 1820, in Lima, New York. He has always showed a passion for writing and politics. After graduating from the University of Vermont in 1840, he pursued a career in journalism, joining Horace Greeley’s New-York Tribune in 1841 (Smith, 2003). His professional writing and deep political insight quickly gained him recognition.

Raymond didn’t stop at just writing; he was deeply involved in politics as well. By 1848, he became a leading political writer for The Courier and Enquirer, shaping public opinion on key issues of the time. He even stepped into public office, serving as Lieutenant Governor of New York from 1855 to 1856. But his most significant achievement came in 1851, when he co-founded The New York Times with George Jones (Schwarz, 2010).

Now, let’s talk about Raymond’s role at The New York Times. Unlike many newspapers of his era, he believed in fair and balanced reporting. He wanted The Times to be a paper that provided facts. His commitment to honest journalism led The Times to expose corruption, including the infamous Tweed Ring scandal in the 1870s. The Tweed Ring scandal of the 1870s was one of the most infamous cases of political corruption in U.S. history. It was orchestrated by William "Boss" Tweed, the leader of Tammany Hall, a powerful Democratic political machine in New York City. Tweed and his associates, known as the Tweed Ring, controlled city politics and used fraudulent methods to embezzle millions of dollars from taxpayers. They inflated public works contracts, created fake invoices, and took bribes from contractors. The estimated amount stolen was around 200 million (equivalent to billions today). The scandal was exposed by political cartoonist Thomas Nast and investigative journalists, particularly at The New York Times. Public outrage led to Tweed's arrest in 1871, and after several trials, he was convicted and sentenced to prison. He later escaped but was recaptured and died in jail in 1878. While Raymond himself was not involved, his commitment to ethical journalism helped establish The New York Times as a key force in uncovering political corruption.

Raymond also served in Congress from 1865 to 1867 while continuing his work in journalism. Sadly, he died on June 18, 1869, but his influence on the press and politics did not. Today, The New York Times stands as one of the most respected newspapers in the world.

Why am I here?

Honestly, I’ve never really stopped to consider why I am here. It always felt like I was just moving forward without really thinking too hard about it. But if I had to boil it down, I’m here because I enjoy writing and feel like when I'm writing consistently I feel smarter.  Of course, writing’s never that simple. 

 

When I was 8 I was a prolific reader even earning a metal from my elementary school for reading and correctly answering questions on countless books. I scored the highest grade with the most books out of any kid in my towns schooling system.

That early interest for reading naturally turned into a intrest in writing. I started taking it less seriously in high school, when writing for the highschool paper. I’d eventually give up on writing and reading altogether to focus on more social endevours.

When I came to High Point University for summer advantage I enrolled into a class that I can't fully remember the name of but it had some psychology involved. This class was my first ever college class and I was determined to prove to my parents and myself that I could handle college. Our assignments where extremely writing heavy and the countless hours I spent writing and preparing to prove to everyone wrong reignited my interest in reading and writing.

Still, transitioning back into writing regularly wasn't easy. I found myself second guessing everything I wrote. That all started to change when I took Professor Smith’s Media Law and Literacy class.

That class challenged me in a way I couldn't have expected. The class was complex, and there was plenty of writing assignments, but I enjoyed every second. For the first time in a while I felt like I was writing at a high level again. It was tough, but it reminded me of what I’m capable of when I take writing seriously.

So, why am I here? I’m here because I rediscovered something I thought I had lost. I’m here because writing makes me feel sharp and in control. And I’m here because people like Professor Smith helped me realize that writing isn’t just something I used to be good at.

History of the beginnings of televison advertising!

The History of the Beginnings of Television Advertising (1941–2006)

    Television advertising has evolved into one of the most influential tools in modern marketing, but its roots date back to the early 20th century. Closely linked to the growth of television technology, advertising on TV began as an experiment and quickly transformed into a cultural and economic powerhouse. From the first ten-second spot in 1941 to the dominance of Super Bowl commercials in the early 2000s, television advertising has continually adapted to changing media landscapes and consumer behavior. The first official television advertisement aired in the United States on July 1, 1941, during a Brooklyn Dodgers vs. Philadelphia Phillies baseball game on WNBT, a New York-based NBC affiliate. The ad promoted Bulova watches, showing a clock with the slogan “America runs on Bulova time.” It cost the company only $9 to air (Museum of Broadcast Communications, n.d.), but it marked the birth of a new advertising medium that combined visuals, sound, and storytelling.

    The 1940s were mostly slow for television growth due to World War II, which redirected manufacturing and technological development toward the war effort. However, once the war ended, the late 1940s and early 1950s saw a boom in television ownership and programming. By 1955, over half of American homes owned a TV set (Spiegel, 1992). This rapid expansion created a golden opportunity for advertisers.  In the 1950s, television advertising borrowed from radio by using a sponsored program model. Brands such as Colgate, Texaco, and GE sponsored entire shows like The Colgate Comedy Hour or Texaco Star Theater, which allowed companies to embed their brands directly into entertainment. These shows were often associated with the products they advertised, strengthening brand recall and loyalty (Boddy, 1990).    

  

 However, as television networks grew and sought greater revenue, they shifted toward selling individual advertising spots during breaks instead of allowing one sponsor per program. This new format gave businesses flexibility and allowed multiple advertisers to share airtime. It also enabled television networks to exert more control over programming while increasing profits. By the 1960s, the 30-second spot had become the industry standard. The 1960s and 1970s also saw major advancements in color broadcasting and televised events. Advertisers began crafting commercials that were more cinematic and emotionally driven. Iconic slogans like “I’d like to buy the world a Coke” and unforgettable jingles helped solidify television’s persuasive power (Sterling & Kittross, 2002). The introduction of Saturday morning cartoons brought with it an entire genre of toy and cereal ads targeted at children, while prime-time television reached families during dinner hours.

    Television advertising reached a new peak with the rise of Super Bowl commercials in the 1980s and 1990s. Apple’s 1984 ad introducing the Macintosh computer is often cited as one of the most influential commercials of all time. Airing during Super Bowl XVIII, the ad broke with traditional marketing by using cinematic storytelling and a bold message, setting the tone for future high-budget, high-impact advertising during major events (Isaacson, 2011).

    By the early 2000s, cable television had fractured audiences into more targeted demographics, giving advertisers the ability to reach specific viewers on networks like MTV, ESPN, and HGTV. At the same time, TiVo and DVR technologies began to challenge traditional ad viewing by allowing users to skip commercials altogether. These changes forced advertisers to find new ways to engage viewers, including product placement, sponsorships, and more creative, memorable content.

    By 2006, internet advertising had begun to rise, but television still held the majority of global advertising dollars. According to Nielsen, U.S. TV ad spending in 2006 totaled approximately $70 billion (Nielsen, 2007), reflecting its continued dominance even amid shifting trends. However, the seeds of digital disruption had been planted, signaling a coming transformation in how ads would be consumed in the years to follow.  In conclusion, the history of television advertising from 1941 to 2006 is a story of rapid growth, creative innovation, and technological adaptation. From humble beginnings with a $9 watch commercial to a $2.5 million Super Bowl spot, television advertising played a central role in shaping American culture and global consumerism.

References

Boddy, W. (1990). Fifties television: The industry and its critics. University of Illinois Press.

Museum of Broadcast Communications. (n.d.). Television advertising. Museum of Broadcast Communications. https://www.museum.tv/eotv/televisionad.htm

Nielsen Media Research. (2007). Advertising trends and statistics. Nielsen. https://www.nielsen.com

Spigel, L. (1992). Make room for TV: Television and the family ideal in postwar America. University of Chicago Press.

Sterling, C. H., & Kittross, J. M. (2002). Stay tuned: A history of American broadcasting (3rd ed.). Routledge.