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Edited on Sat Aug-19-06 05:27 PM by calimary
Mainly because we were on the ENTERTAINMENT end. So, by definition, such puffery and trifles as a Zsa Zsa Gabor trial WERE big news at our end of the room. So, as far as our beat was concerned, he did, by necessity, see whatever it was as big news. I imagine these days he'd be all over Lindsey Lohan and Paris Hilton and Mel Gibson and all those cultural giants. And, yes, TomKat and Britney and the Jessica-du-jour. He was "Entertainment Editor." So what we covered was our version of big news - the new movies, people on TV. Celebrities getting arrested, marrying, divorcing, gossip, Michael Jackson, Liz Taylor in the hospital again, celeb obits, births, cheating, rehab, working, getting fired, getting drunk, crashing their cars, all that stuff. We were our network's answer to USA Today's "Life" section.
But bottom line, you ALWAYS did what you did to satisfy the members. And elsewhere in the room, there were other reporters, writers, editors, and anchors, all there covering their version of the news - the politics, disasters, big names, crimes, wars, international summits, storm coverage, anything Washington-specific, election night, bigtime sporting events like the World Series and the Olympics and the World Cup, etc. Someone in our department would never have the lead story in the hourly newscast unless it was on Oscar night or Emmy night, for example (when we'd not only lead the newscast, live, but we'd be supplying special reports and live inserts to air at other times around the hourly clock). Or, in the case of a Mel Gibson arrest or - yes, the dreaded Zsa Zsa conflagration - we'd be the lead alright, for as long as the story was fresh and there wasn't something else coming up to push us out of the lead. Often, at all-news affiliates, of course we'd be the "kicker" story in the hourly newscast most of the time. But news is news and it's what people are talking about.
We also had a feed filled with daily produced feature packages. There were many - there were several different format-specific music reports (rock, R&B, country), some sports stuff, money-matters stuff, "The Entertainment Report," and seasonal things like tax-time stuff and "Stocking Stuffers." Mine were "The Hollywood Report" and "Eye on TV." I later learned that "Eye on TV" was the most-cleared feature of any we fed - and all it was, basically, was a 60-second rundown of what was on TV that night, preferably with a soundbite from some relevant interview I'd done. Fluff sold then, and sells now. In fact, it's even crazier now, what with the explosion of entertainment-type coverage and TMZ.com and the paparrazzi who are even more nuts now than they were then. Everything's louder, pushier, riskier, more over-the-top. My beat, mainly, was prime time and feature film. But with what's mushroomed in TV and cable, I doubt I'd be able to keep up. They probably will further subdivide that beat, if they haven't already. I retired from that ten years ago, and even back then I was struggling to keep up with everything that happened - for which I was singlehandedly responsible. Damn near drove me nuts, but everybody loved asking me about my job. My husband used to joke that when people in any situation found out what I did for a living, that was the end of any other conversation in the room for the whole rest of the evening.
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