EOTO #3 Post

Mary McGrary

Some journalists simply report the news. Others shape how people understand it. 

Her early life

Mary McGrory was born on August 22, 1918, in Roslindale, a working-class neighborhood in Boston, Massachusetts. She grew up in an Irish Catholic family and developed a love of reading and writing at an early age. She attended the Girls' Latin School in Boston, and later graduated from Emmanuel College, a Catholic women's college.
After finishing school, McGrory did not immediately find her way into journalism. 
Instead, she spent six years working as a secretary and assistant to the book reviewer at The Boston Herald. While this was not a glamorous job, it gave her valuable experience. She read constantly, learned how to evaluate writing, and absorbed the rhythm of a working newsroom. In 1947, she was hired by The Washington Star in Washington, D.C., initially as a book reviewer. For seven years she worked in this quiet role, covering literature while the political world grew around her.

Her moment

The turning point in McGrory's career came in 1954, when her editor assigned her to cover the Army-McCarthy hearings. These were nationally televised Senate hearings investigating Senator Joseph McCarthy, who had spent years making accusations that Communists had infiltrated the U.S. government, the military, and other institutions. The hearings were a major national event. 
Tense, dramatic, and politically explosive. 
Most reporters at the time focused on the factual details: who said what, what accusations were made, what evidence was presented. McGrory took a different approach. She focused on the human side of the story. The personalities, the behavior, the moral character of the people involved. She described McCarthy not as a powerful political figure to be feared, but as what she believed him to be: a bully. 
Her writing was vivid, direct, and deeply engaged with questions of right and wrong. 
The response from readers was immediate and passionate. 
People who had never noticed her before were suddenly talking about her columns. 
Journalists praised her work. 
She had found her voice, and Washington had found a new kind of political writer. As she later described her approach, she wanted to "take huge events and get a little angle on them". She looked for the human truth inside the big political story. That approach would define her career for the next five decades.

The Enemies list

McGrory distrusted Nixon deeply and wrote about him critically throughout his career. 
The Nixon White House responded by placing her on the president's official "enemies list," a document compiled by White House counsel John Dean in 1971 identifying people the administration considered its opponents. The list described her as writing "daily hate Nixon articles." Rather than intimidating her, being placed on the enemies list became something of a badge of honor in Washington. It meant you had

been honest and persistent enough to genuinely bother the most powerful person in the country. 
Nixon's presidency unraveled publicly beginning in 1972 with the Watergate scandal  a series of political crimes and cover-ups that began with a break-in at the Democratic National Committee headquarters and eventually revealed a pattern of illegal activity reaching all the way to the Oval Office. The Senate Watergate hearings in 1973 and 1974 were as dramatic as the McCarthy hearings had been twenty years earlier, and once again McGrory was there to cover them. 
Her Watergate columns were some of the best work of her career. She wrote about the hearings with intensity and moral clarity, helping readers understand not just what was happening legally and politically, but what it meant for American democracy. In 1975, she was awarded the Pulitzer Prize for Commentary â the highest honor in American journalism â for her Watergate coverage. It was formal recognition of what her readers had long known: that she was one of the most important voices in the country. 
In 1981, The Washington Star shut down after financial difficulties. McGrory moved to The Washington Post the same year and continued writing her column there until 2003, giving her a career at two of the most prominent newspapers in the country spanning more than five decades. 
Understanding McGrory only through her professional accomplishments misses an important part of who she was. By all accounts, she was a person of genuine warmth and deep personal convictions, particularly shaped by her Catholic faith. 
For many years she organized annual Thanksgiving dinners for orphans and foster children in Washington, a tradition that became well known in the city. Colleagues described her as someone who truly cared about the people around her. 
Interns, readers, children in need.
Not as a public performance but as a reflection of who she truly was. 
Mary McGrory retired from writing her column in 2003 after suffering a stroke. She died on April 20, 2004, in Washington, D.C. She was 85 years old.

Her legacy

The tributes that followed her death reflected the enormous respect she had earned over her career. Maureen Dowd of The New York Times, herself a celebrated political columnist, called her "the most luminous writer and clearest thinker in the business." The Washington Post had already given her its highest internal honor, the Eugene Meyer Award, in 2001. Among her other major awards were the Franklin D. Roosevelt Four Freedoms Award for Freedom of Speech (1995), The Fourth Estate Award from The National Press Club (1998), and a dozen other journalism honors throughout her career. 
But McGrory's importance goes beyond the awards she received. She was a pioneer for women in journalism. At a time when very few women covered politics at a national level, she broke through not by demanding special treatment but simply by doing her job better than almost anyone else. She showed that a woman could cover the Senate, the White House, and American foreign policy with complete authority â and could do it with a quality of writing that most of her male colleagues could not match. 
She also helped define a style of political journalism that is still practiced today. Rather than just summarizing events or reporting facts, she showed that opinion writing at its best combines careful observation, moral seriousness, and genuine literary skill. 
She proved that asking "what does this mean?" and "what does this say about us?" are just as important as asking "what happened?"

She was not afraid to take sides. She opposed the Vietnam War, criticized Nixon fiercely, and used her column to hold powerful people accountable. At the same time, she was not simply a partisan â she held her allies to the same standards she applied to her opponents, and her criticism came from conviction rather than politics. 
What made her truly extraordinary was the combination of qualities that rarely appear together in one person: brilliant writing, moral courage, genuine human compassion, and an unshakeable commitment to telling the truth. These qualities earned her a Pulitzer Prize, a place on a president's enemies list, and the lasting admiration of the journalists who came after her. More than two decades after her death, Mary McGrory remains a standard for what great political journalism looks like. 

 

EOTO #2 Reflection

 EOTO #2 Reflection

Personal Reflection

Researching Election Night Results and Coverage made me realize how much I take immediacy for granted. 

I’ve grown up in a world where information is constant and instant, so it’s hard to imagine a time when people waited weeks, or even months, to find out who won an election. 

The idea that early Americans experienced elections as a slow trickle of updates rather than a shared national moment feels almost disconnected from how we think about democracy today. It shows that the “event” of election night is not something inherent to voting itself, but something created by technology.

What stood out most to me was how each technological shift didn’t just make things faster, it changed the emotional experience of elections. The telegraph and the establishment of a uniform Election Day turned elections into something closer to real-time, but it was really newspapers and later radio that made it feel collective. By the time radio broadcasts began, people could follow along from home, which feels like the first version of the modern “election night experience.”

Television and computers took this even further, but they also introduced a new tension: speed versus accuracy. The example of UNIVAC correctly predicting the outcome before networks trusted it shows how uncomfortable people were with relying on machines. At the same time, mistakes like the “Dewey Defeats Truman” headline and the chaotic 2000 election demonstrate the risks of prioritizing being first over being right. This tension still exists today, especially with social media, where information spreads instantly but isn’t always verified.

What I found most interesting is that despite all these changes, the actual process of counting votes hasn’t really changed. Local officials still count ballots and report results upward, just like they did in the 18th century. That contrast between a slow, careful counting process and a fast, high-pressure media environment helps explain why modern elections can feel confusing or drawn out. The “red mirage”
phenomenon is a good example of this mismatch between expectations and reality. Overall, this reading made me see election night not just as a political event, but as a product of media evolution.

The History of Campaign Coverage- Nyla Castro

The presentation, "The History of Campaign Coverage" by Nyla Castro, adds another layer to this idea by showing how journalism itself has transformed alongside technology. In the early partisan press era, the goal wasn’t to inform but to persuade. Newspapers openly supported political parties, which feels very different from the idea of objectivity we expect today. The shift to the penny press is important because it introduced the idea that campaigns could be covered as news rather than propaganda, even if that coverage was still flawed.

What really changed things was the rise of wire services, which pushed journalists toward more neutral and standardized reporting. This makes sense because a single story had to appeal to multiple audiences with different political views. However, even as objectivity became more important, new technologies kept reshaping coverage. Radio allowed politicians to communicate directly with the public, forcing journalists to interpret rather than simply report. Television then shifted the focus again, making image and personality just as important as policy. The Kennedy-Nixon Debate is a perfect example of how the medium can shape perception.

The Watergate era seems like a turning point in defining journalism as a watchdog. It’s interesting to see how one major event could reshape an entire profession’s sense of purpose. But the later rise of 24-hour news and the internet complicates this role. With constant demand for content, the line between information and entertainment becomes blurred, and the challenge shifts from getting access to determining what is actually true.

War Reporting during the television/ Modern Era- Mia Thomas 

The presentation, "War Reporting during the television/ Modern Era" by Mia Thomas, connects to these themes in a powerful way. Like election coverage and campaign journalism, war reporting has been shaped by technology, but the stakes feel even higher. The Vietnam War demonstrated how media could
influence public opinion by bringing the realities of conflict into people’s homes. In response, governments tried to control that narrative, which shows an ongoing struggle between access and independence.

What stands out most in the modern era is the role of digital media. On one hand, it allows for unprecedented access, with real-time updates and firsthand accounts. On the other hand, it creates new challenges, especially with misinformation spreading so quickly. Journalists are no longer just reporting events; they are also verifying and correcting information in real time.

All three presentations have shown a common theme. 

Technology changes how information is delivered, but it also reshapes how people experience and understand major events. Whether it’s election results, campaign coverage, or war reporting, journalism is constantly adapting. At the same time, its core purpose of informing the public remains the same, even as the tools and challenges evolve.

Key Post: ‘Shock and Awe’

 Key Post: ‘Shock and Awe’ 

Rob Reiner's 2017 film depicts two worlds of American journalism operating simultaneously in the months before the United States invaded Iraq.

In one world, the New York Times, the Washington Post, and the major TV networks worked as relay stations receiving official signals from The Bush Administration and transmitting them to the public. In the other, four journalists at Knight Ridder Newspapers Jonathan Landay, Warren Strobel, Joe Galloway, and bureau chief John Walcott were doing something which many considered old-fashioned. 

They were actually reporting.

While Judith Miller of the New York Times ran front-page stories sourced to administration insiders and Iraqi defectors with obvious agendas, the Knight Ridder team was working its way through the intelligence community, talking to analysts alarmed by what they were being asked to certify. The administration then used the New York Times’ coverage as a laundry machine. They planted claims with Miller, waiting for them to appear in America's most trusted newspaper, then citing The New York Times as independent confirmation of its own assertions.

The Stenographers and the Skeptics

 "If every other news organization wants to be stenographers for the Bush administration, let them."

 - Bureau chief Walcott

 The Knight Ridder team that the aluminum tubes cited as nuclear evidence could not be used for uranium enrichment and correctly reported deep skepticism within the intelligence community. Their reward was professional marginalization. Even some Knight Ridder editors buried or declined to run their stories as one critic noted, "their voices didn't pierce the compliant noise from their peers." 

The mainstream press's failure was not always crude dishonesty. Some of it was competitive pressure, some the seductive effect of the embedded journalism program, some simple careerism. But much of it was a collective disinclination to be the organization standing against a march to war asking inconvenient questions, especially when the New York Times was on the front page every week with new WMD (weapons of mass destruction) revelations that were, in Miller's own eventual admission, wrong.

Why It Matters Who We Call Heroes

The Knight Ridder journalists are the heroes of this story, and their heroism is instructive precisely because it is undramatic. 

They did not have a secret source. they simply did their jobs. They asked whether the official case held up, sought out people with the ability to know, and followed the evidence. 

The lesson for journalists is clear.

Ask whether a claim is true, not decide in advance that it probably is because the people making it are powerful or credentialed.

The parallels of Government

The parallels between the Bush administration to today's government are undeniable. The current administration does not need the press to amplify its message it has its own media infrastructure. Instead, it has launched a barrage of attacks on the press, both in the United States and abroad, with journalists harassed, laid off, detained, deported, investigated, sued, and assaulted. The Associated Press was barred from the White House press pool after publishing reports that contradicted the administration's public narrative. The FCC has opened investigations into CBS, ABC, and NBC, leading free speech groups to characterize some of the actions as politically motivated.

During 2002 the press was completely flattered into complicity in exchange for credulity. The threat today is cruder. Intimidation, exclusion, delegitimization. Different methods with the same goal. A press too compromised, too frightened, or too distracted to ask the one question that has always mattered. 

Is it true?

Landay and Strobel got it right not because they were braver than their peers, but because they refused to outsource their judgment to officials with an interest in the outcome. They were ignored, marginalized, and vindicated. 

The bodies, the debt, and the chaos they predicted came anyway because the press that could have slowed the march to war had decided, mostly, to lead it.

 

 

 

Key Post: 'Five Star Final'

The film Five Star Final (1931) shows a version of journalism that can feel exaggerated or dramatic to modern viewers. However, the movie is really commenting on how newspapers actually operated during earlier periods of American journalism history. One of the clearest examples appears in the scenes with the newsboys shouting headlines and selling papers in the street. 

Their job is simple. Sell as many copies as possible. 

This idea reflects a major theme in the movie that the newspaper’s main goal is simply increasing circulation. 

Five Star Final reflects several important stages in journalism history, including the Penny Press, Yellow Journalism, and the power of Press Barons. The film also raises important questions about journalism ethics and whether the people working in the newsroom are thinking about the consequences of their actions.

Penny Press Era

The focus on selling newspapers connects directly to the Penny Press Era during the 1830s. Before the Penny Press, newspapers were expensive and mostly aimed at wealthy readers interested in politics. The Penny Press changed this by producing cheap newspapers that anyone could buy. In order to attract a large audience, these papers began publishing stories about crime, scandals, and human drama. The goal was to grab attention and sell more papers.

This same idea is clearly visible in Five Star Final. When the publisher orders editor Joseph Randall to reopen the old Nancy Vorhees murder case, the decision is not based on whether the story is important or useful for the public. Instead, it is about increasing circulation. The publisher believes the scandal will attract readers, and therefore sell more newspapers. In this way, the movie shows how journalism during this era often treated news as a product to sell rather than information meant to serve the public.

Yellow Journalism

The film also reflects the influence of Yellow Journalism, which became popular in the late 1800s through publishers like William Randolph Hearst and Joseph Pulitzer. Yellow Journalism focused heavily on sensational and emotional stories designed to excite readers. Accuracy and fairness were sometimes less important than creating dramatic headlines and shocking details.

The Gazette’s coverage of Nancy Voorhees follows this pattern. Even though the crime happened many years earlier and Nancy has already rebuilt her life, the newspaper publishes dramatic articles about the case to create interest and outrage. The reporters dig up old information and present the story in a way that makes it seem shocking and scandalous again. This shows how Yellow Journalism often prioritized attention and excitement over the well-being of the people involved.

One of the clearest examples of unethical behavior is the reporter Isopod. She pretends to be a charity worker in order to gain access to Nancy’s home and gather information. This kind of deception raises serious ethical concerns. Journalists today are generally expected to be transparent about who they are and why they are gathering information. Isopod’s actions show how the newspaper treats the family as a source of drama rather than as real people whose lives could be harmed by the story.

Press Barons

The movie also reflects the influence of Press Barons, powerful newspaper owners who controlled their publications and often made decisions based on profit or personal interests, which in the film was represented by the publisher Hinchecliffe. He is mainly concerned with circulation numbers and advertising revenue. 

When Randall expresses concerns about the story, Hinchecliffe dismisses them because the story will sell papers. Even when the situation leads to tragedy, the publisher shows little concern about the consequences. This demonstrates how much control publishers had and how little accountability they sometimes faced.

Journalism Ethics

Because of these situations, the film raises important questions about journalism ethics. Journalists have ethical responsibilities both to the people they write about and to the readers who rely on their reporting. Toward the people they cover, journalists should try to minimize harm and avoid unnecessary damage to someone’s reputation or personal life. In the case of Nancy Vorhees, the newspaper clearly fails in this responsibility. The story serves no real public interest, yet it destroys the life she built after her earlier mistake.

Journalists also have ethical obligations to their readers since they depend on newspapers for accurate and meaningful information about the world. 

In Five Star Final, however, the Gazette focuses more on entertaining readers than informing them. The sensational coverage turns a real person’s tragedy into a form of public spectacle, which shows how the newspaper is prioritizing sales over responsible reporting.

Joseph Randall seems to struggle with the situation. 

Throughout the film, he shows signs of guilt and discomfort about continuing the story. This suggests that he understands the ethical problems but feels pressured by his position and by the publisher’s authority. In contrast, Hinchecliffe appears completely unconcerned about ethics. His main focus is profit and circulation.

The character who most clearly expresses the moral consequences is Jenny Voorhees. When she confronts the newspaper after her mother’s death, she directly blames the paper for what happened. Her confrontation forces the newsroom to face the real human impact of their reporting.

Even though the movie takes place nearly a century ago, the questions it raises about the responsibilities of journalists are still relevant today. Ultimately, Five Star Final serves as a powerful warning about what can happen when journalism values profit and sensationalism over truth, responsibility, and the human lives affected by the news.

EOTO #2- Terms and Concepts

                       Election Night Results

In the early years of the American Republic, there was no election night as we know it. 

The Pre Broadcast Era

States voted on different days, results traveled by horse and courier, and it could take weeks, sometimes months, before a winner was known. There was no shared national moment. Just a slow accumulation of information arriving by post.

The Rise of "Instant" News

The first turning point came in 1845, when Congress established a uniform Election Day. Combined with the rapid spread of the telegraph , this completely changed how quickly results could travel. By 1848, the Associated Press was wiring results across the country, compressing a process that once took weeks into a matter of hours. For the first time in American history, a candidate could learn the outcome on the night of the election itself.

Broadcast Era

Newspapers recognized the dramatic potential of this moment and leaned into it. They projected results onto the sides of buildings, drew enormous crowds into the streets, and competed fiercely to be first. The New York Times debuted its electric zipper sign in Times Square in 1928, scrolling live results to thousands of spectators and once beat a radio broadcast by ten seconds.

Radio extended that reach even further. In 1920, KDKA in Pittsburgh broadcast the presidential election results live the first time Americans could follow along in real time from their own homes. The experience of election night began to feel genuinely collective.

Television transformed it entirely. 

The Television & Computer Revolution 

By 1952, roughly one third of American households owned a television set, and CBS introduced a computer called UNIVAC to project the results. When UNIVAC predicted an Eisenhower landslide early in the evening, producers were skeptical and chose not to air the prediction. Hours later, they were forced to acknowledge the computer had been correct all along. It was a turning point from that night forward, networks became consumed with the race to call results first.

That ambition, however, carried real consequences. In 1948, the Chicago Tribune had already printed "Dewey Defeats Truman" on its front page based on faulty early projections. And in 2000, the networks called Florida for Al Gore, retracted the call, called it for George W. Bush, and retracted that as well  all within the same evening. The chaos of that night led news organizations to form the National Election Pool, a shared data consortium designed to prevent a repeat.

The Digital & Data Era 

Today, coverage is defined by real-time data, interactive touchscreens, and wall-to-wall streaming across multiple platforms. And yet, election night has grown longer. The widespread use of mail-in ballots means that final results are often not known for days, creating what analysts call the red mirage where one candidate appears to lead on election night, only for that margin to shift significantly as later ballots are counted.

Across every era from horse couriers to the telegraph, from UNIVAC to the magic wall the actual counting has never changed. Local election clerks count paper ballots by hand and report upward through official channels, exactly as they did in 1788. The role of journalism, in every single era, has simply been to gather those results and deliver them to the public as quickly as the technology of the moment allows.

The technology keeps changing. The urgency to know never does.