"The news is staged, anticipated, reported, analyzed until all interest is wrung from it and abandoned for some new novelty"
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Griffith’s line reads like an editor yanking the curtain back on the modern news cycle: not a window onto reality, but a production schedule. “Staged” is the tell. It implies choreography before facts have even settled, a world where events are framed for maximum legibility and shareability, then treated as if the framing were neutral. “Anticipated” adds the corrosive twist: we don’t merely cover what happens, we pre-write the emotional arc, assigning villains, victims, and stakes in advance. The audience is invited to feel prepared, which is another way of being manipulated.
The verb choice turns brutal in the middle: “wrung.” News isn’t consumed; it’s extracted, like juice from pulp. That metaphor signals exhaustion on both sides. Institutions squeeze an event for clicks, panels, push alerts, and hot takes until it yields diminishing returns. The public, meanwhile, is left with the sensation of having “kept up,” even if they’ve learned very little that changes what they can do.
Griffith’s intent isn’t nostalgia for a purer era so much as a warning about attention as an economic system. Once the commodity is interest, “abandoned for some new novelty” becomes less a moral failure than the business model’s logical endpoint. The subtext is editorial self-indictment: the machine doesn’t just distort reality; it trains us to treat crises as episodic entertainment, resolved not by solutions but by replacement.
The verb choice turns brutal in the middle: “wrung.” News isn’t consumed; it’s extracted, like juice from pulp. That metaphor signals exhaustion on both sides. Institutions squeeze an event for clicks, panels, push alerts, and hot takes until it yields diminishing returns. The public, meanwhile, is left with the sensation of having “kept up,” even if they’ve learned very little that changes what they can do.
Griffith’s intent isn’t nostalgia for a purer era so much as a warning about attention as an economic system. Once the commodity is interest, “abandoned for some new novelty” becomes less a moral failure than the business model’s logical endpoint. The subtext is editorial self-indictment: the machine doesn’t just distort reality; it trains us to treat crises as episodic entertainment, resolved not by solutions but by replacement.
Quote Details
| Topic | Truth |
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