Book Review: Talk Show Campaigns: Presidential Candidates on Daytime and Late Night Television

2018 ◽  
Vol 24 (2) ◽  
pp. 256-258
Author(s):  
Geoffrey Baym
Keyword(s):  
Talk Show ◽  
Presidential Candidates ◽  
Late Night

Classroom Instruments and Carpool Karaoke: Ritual and Collaboration in Late Night’s YouTube Era

2017 ◽  
Vol 18 (7) ◽  
pp. 569-588 ◽  
Author(s):  
Myles McNutt
Keyword(s):  
Talk Show ◽  
Late Night ◽  
Close Analysis ◽  
Online Audiences ◽  
Primary Space

This article uses two recurring late-night talk show segments, “Classroom Instruments” (NBC’s The Tonight Show Starring Jimmy Fallon) and “Carpool Karaoke” (CBS’s The Late Late Show with James Corden), to explore how programming strategies are changing in response to late night’s adoption of YouTube as a distribution platform. Through close analysis of these segments, the series’ YouTube presences, and industry perspective, the article explores how late night’s digital turn has embraced historical qualities of late-night programming that have proven compatible with YouTube as a platform, with these segments prioritizing collaboration common in the YouTube community at large. It goes on to analyze how this content is being “re-ritualized” for online audiences, disconnecting the segments from their linear broadcast context and reframing them for nonlinear audiences in light of this once secondary space of distribution increasingly becoming the primary space of consumption in late-night talk’s “YouTube era.”

Remediating the Celebrity Roast: The Place of Mean Tweets on Late-Night Television

2019 ◽  
pp. 152747641989258 ◽  
Author(s):  
Bridget Kies
Keyword(s):  
Social Media ◽  
Careful Study ◽  
Dominant Position ◽  
Talk Show ◽  
Broadcast Media ◽  
Late Night ◽  
Hierarchical Position ◽  
History Of

This article uses the “Celebrities Read Mean Tweets” segment on late-night talk show Jimmy Kimmel Live! as a case study in how television can remediate social media to maintain its dominant position in entertainment. The incorporation of tweets into television appears to demonstrate the power social media has over broadcast media, but a careful study reveals that television and film celebrities use television appearances to denounce “mean tweets” as an example of frenzied and cacophonous social media. Drawing on the history of the televised celebrity roast, I argue that contemporary roasts resemble Internet trolling while segments like “Celebrities Read Mean Tweets” embody the spirit of historical roasts by granting celebrities the opportunity to laugh at jokes about themselves. Thus, the segment reiterates the hierarchical position of “old media”: television as a source of comfort and clarity, and the Hollywood celebrity as the epicenter of culture.

scholarly journals Can Unscrewed be unskewed? Television coverage of the Internet

First Monday ◽  
2006 ◽  
Author(s):  
Martha McCaughey
Keyword(s):  
Web Sites ◽  
The Internet ◽  
Market Forces ◽  
Talk Show ◽  
The Public ◽  
Cable Network ◽  
Late Night ◽  
Market Driven ◽  
Online Culture ◽  
Television Coverage

This paper documents one way the Internet is presented to the public by analyzing a late–night TV talk show about the Internet called Unscrewed on the TechTV cable network. I gained the opportunity to study Unscrewed, and attempt to influence its focus, when I was invited to appear as a guest on their show after having e–mailed them a criticism of their sexist coverage of the Internet — specifically their positioning of women as pretty objects to be ogled online rather than as creative participants in online culture and as authors of a diversity of Web sites. Though I liked the program’s potential to challenge some aspects of an increasingly market–driven Internet, I was unable to unskew the sexist focus of Unscrewed precisely because market forces demanded the show remain male–centered.

Research note: negative news and late-night comedy about presidential candidates

2019 ◽  
Vol 32 (4) ◽  
pp. 605-617
Author(s):  
Jody C Baumgartner ◽  
S. Robert Lichter ◽  
Jonathan S. Morris
Keyword(s):  
Media Coverage ◽  
Positive Relationship ◽  
Party Identification ◽  
News Coverage ◽  
Talk Shows ◽  
Major Party ◽  
Presidential Candidates ◽  
Mainstream Media ◽  
Late Night ◽  
Negative News

Abstract In this paper we explore the creation of jokes told on late night talk shows targeted at major party nominees for president from 1992–2008. We hypothesize that the number of jokes told about candidates are related to variations in polling numbers, mainstream media coverage, and party identification of the candidates. Our results show a positive relationship between the number of jokes told at a candidate’s expense and the amount of negative news coverage about the candidate. In addition, we find that Republicans are targeted with more frequency than Democrats. Results suggest that favorability ratings and whether or not a presidential candidate is an incumbent has no effect on the number of jokes targeting a candidate.

“We should be addressing whiteness less, and affirming blackness more”: Random Acts of Flyness, Afrosurrealism, and Quality Programming

2020 ◽  
Author(s):  
Eric Forthun
Keyword(s):  
American Culture ◽  
Exceptional Case ◽  
Experimental Series ◽  
Historically White ◽  
Talk Show ◽  
Late Night ◽  
Art Forms ◽  
The Media ◽  
Quality Programming

Abstract Premiering on Saturday nights in summer of 2018, the barely-promoted Random Acts of Flyness (RAOF) was buried in HBO’s schedule. The highly experimental series combines many forms, including late night talk show, documentary, claymation, and sketch show, amongst many others. With stylistic techniques such as Afrosurrealism and self-reflexivity alongside discursive tools that heighten the series’ claim to “quality,” I argue that RAOF utilizes its surreal and distinctly black creative production to critically examine representations of blackness and whiteness in the media and American culture. I further contend that, for HBO, independent filmmaker and series creator Terence Nance’s pedigree fits the channel’s long-standing association with “higher” art forms, even as the series does not fit into historically white and affluent notions of “quality.” As the television landscape becomes broader and markers of “quality” become harder to pin down, the series’ incisive look at blackness proves to be an exceptional case study.

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