By Laura Grindstaff
He leaped from his chair, ripped off his microphone, and lunged at his ex-wife. protection guards rushed to intercept him. The viewers screamed, then cheered. have been manufacturers involved? certainly not. They have been getting what they sought after: the cash shot.From "classy" indicates like Oprah to "trashy" exhibits like Jerry Springer, the foremost to a conversation show's good fortune is what Laura Grindstaff calls the money shot—moments whilst visitors lose regulate and convey pleasure, sorrow, rage, or regret on digital camera. during this new paintings, Grindstaff takes us backstage of daylight hours tv speak indicates, a style fascinated with "real" tales advised via "ordinary" humans. Drawing on large interviews with manufacturers and site visitors, her personal attendance of dozens of stay tapings round the kingdom, and greater than a year's adventure engaged on nationally televised indicates, Grindstaff exhibits us how manufacturers elicit dramatic performances from site visitors, why site visitors conform to take part, and the helping roles performed by way of studio audiences and experts.Grindstaff lines the profession of the money shot, analyzing how manufacturers make stars and specialists out of normal humans, within the procedure reproducing previous varieties of cultural hierarchy and sophistication inequality even whereas seeming to problem them. She argues that the daylight hours speak express does provide voice to humans usually excluded from the media highlight, however it permits them to converse merely in convinced methods and less than sure principles and prerequisites. operating to appreciate the style from the interior instead of move judgment on it from the skin, Grindstaff asks not only what speak exhibits can let us know approximately mass media, but in addition what they exhibit approximately American tradition extra in most cases.
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Extra resources for The Money Shot: Trash, Class, and the Making of TV Talk Shows
In addition to interning at Diana and Randy, I attended the live taping of more than two dozen talk shows around the country over a threeyear period. On two separate occasions after a taping, I volunteered (along with other audience members) to take part in an informal focus-group session with producers, designed to assess what audiences like and dislike about talk shows. I also conducted roughly eighty in-depth interviews, spanning the years between 1994 and 2000, with producers, other talkshow staff, talk-show hosts, and talk-show guests (both ordinary and expert).
Like all research methods, it seeks order in chaos and imposes a certain coherence on the messiness of life that bears the imprint of the method itself as much as the social relations under examination. There are many other ways to study popular culture than the one I have chosen and many things to say about daytime talk shows that I do not say. This book is not a content or textual analysis of talk-show programming. It is not a Foucauldian critique of the confessional impulses of guests or a theoretical inquiry about the voyeuristic predilections of viewers.
Sparks and Tulloch (2000) provide a good historical overview of this struggle. Airing Dir ty Laundr y [ 27 ] contemporary discourse about the therapeutic beneﬁts of emotional expressiveness (see Lowney 1999). Closer to the trashy end of the continuum are shows like Randy, Jenny Jones, and Ricki Lake, which focus on people’s interpersonal conﬂicts in the service of generating “lively” on-air confrontation. Relatively hard-core (and “masculine”) by contrast, these shows tend to feature a more ethnically diverse cast of working-class women and men and attract younger, more gender-mixed audiences.