The profusion of video access to anywhere on earth, at any time of day or night, was unimaginable before Turner’s work to make CNN conceivable and then real.
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The ‘equal time’ rule has been around for a century and aims to promote broadcasters’ editorial independence and free expression – an idea that is now under threat from the FCC.
‘The West Wing’s’ transition from broadcast TV behemoth to ‘bittersweet comfort watch’ in today’s streaming era reveals how much media and political landscapes have changed in the past 25 years.
Pressuring broadcasters by leveraging the powers of the Federal Communications Commission occurs no matter which party controls the White House.
President Nixon tried and failed to cancel ‘The Dick Cavett Show.’ Since then, deregulation and consolidation have made media conglomerates more willing to accommodate those in power.
Due to conflicts over music rights and the high cost of adapting the show to HD, the series had become overshadowed by its spiritual successor, ‘The Wire.’
Patriotic coverage helps forge the Olympics’ sense of community, weaving viewers’ lives together with athletes’ struggles and triumphs.
The show has served as the nation’s laugh track for decades. Who will take over when he retires?
The 90s sitcom featuring Jerry Seinfeld influenced the type of cinematic television we are so familiar with nowadays.
Just five days before the first pitch of the 1947 World Series, a deal was struck to air the Series on television.
The Olympics are usually profitable for broadcasters and show off the future possibilities of media technologies.
When President Trump claimed in a press conference that the election was being stolen from him, three major TV networks cut off their coverage. A media scholar asks if this is a turning point.
A media historian uses declassified government documents to show how both sides of the Iron Curtain worked to have the projects canned.
Although some have dubbed the flurry of new video services coming out as a ‘streaming war,’ the reality is very different.
Since ‘Friends’ premiered 25 years ago, both the television industry and the sitcom genre have undergone huge transformations.
Demands for regulation of media violence reached a fever pitch after RFK’s assassination, and networks scrambled to insert more kid-friendly fare into their lineups. Enter: the Mystery Machine.
Fifty years ago, an insurance agent named Paul Simpson was convinced of rampant bias on the evening news. So he embarked on a project to record each broadcast and store them at Vanderbilt University.
Sinclair network anchors decrying ‘fake stories’ have been condemned for giving biased support to President Trump. But nostalgic calls to restore civil political discussion on the air ignore history.
Inflating his own grand persona is Trump’s sole goal, and he doesn’t care whether or not you believe him.
How is the Trump-Clinton contest being covered by the country’s major newspapers and broadcasters? We look at the data.
Top contributors
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Professor of Communication and Journalism, University of Maine
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Associate Professor of Journalism, Indiana University
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Professor of Journalism, Indiana University
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Associate Professor in the Media School, Indiana University
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Professor of History, Vanderbilt University
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Professor - Department of Media Communication Studies, University of Maryland, Baltimore County
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Director of External Research for frank, College of Journalism and Communications, University of Florida
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Director of the Center for Mexican American Studies and Associate Professor, Department of English and Department of Mexican American and Latina/o Studies, The University of Texas at Austin
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Professor of Digital Media, Swinburne University of Technology
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Professor of Film and Television Writing, Emerson College
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James Walker is a Friend of The Conversation.
Emeritus Professor of Communication, Saint Xavier University
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Doctoral Student in Communication, University of Pennsylvania
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Associate Professor of Film and Media Studies, Arizona State University
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Assistant Director of American Culture Studies, Washington University in St. Louis
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Professor of Film Studies, Bangor University