"News events cannot be controlled, nor can newscasts be mapped out like entertainment shows"
About this Quote
Savitch’s line is a calm rebuke to a fantasy the media industry keeps trying to sell: that the world will cooperate with the rundown. The sentence hinges on two kinds of “cannot.” One is practical (events are unruly); the other is philosophical (attempts to impose narrative order are, at best, self-deception). By pairing “news events” with “newscasts,” she widens the critique from reality itself to the machinery built to package it. The problem isn’t only that breaking news is unpredictable; it’s that the format of television quietly pressures journalists to pretend it isn’t.
The contrast with “entertainment shows” is doing sharp cultural work. Entertainment is mapped, paced, rehearsed, and paywalled behind a promise: every segment will land. News, in theory, is the opposite - a public service that answers to contingency. In practice, broadcast news has long borrowed entertainment’s grammar: cliffhangers, heroes, villains, “tonight at 11.” Savitch is warning that when you storyboard the world, you start editing reality to match your storyboard. That’s where distortions creep in: overconfident anchors, premature certainty, speculative chatter that fills airtime because airtime must be filled.
Context matters. Savitch rose during the late-70s/early-80s transformation of TV news into a high-stakes ratings arena. Her credibility was forged in live, volatile situations where composure isn’t a performance style but a moral stance. The subtext is almost ethical: respect the chaos. Don’t demand a plot from tragedy, don’t force clean endings, don’t confuse production value with truth.
The contrast with “entertainment shows” is doing sharp cultural work. Entertainment is mapped, paced, rehearsed, and paywalled behind a promise: every segment will land. News, in theory, is the opposite - a public service that answers to contingency. In practice, broadcast news has long borrowed entertainment’s grammar: cliffhangers, heroes, villains, “tonight at 11.” Savitch is warning that when you storyboard the world, you start editing reality to match your storyboard. That’s where distortions creep in: overconfident anchors, premature certainty, speculative chatter that fills airtime because airtime must be filled.
Context matters. Savitch rose during the late-70s/early-80s transformation of TV news into a high-stakes ratings arena. Her credibility was forged in live, volatile situations where composure isn’t a performance style but a moral stance. The subtext is almost ethical: respect the chaos. Don’t demand a plot from tragedy, don’t force clean endings, don’t confuse production value with truth.
Quote Details
| Topic | Writing |
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