Times change, and so do media people consume, but the general idea remains static. The wasteland’s idea is mostly intact, although some of its elements, such as westerns, may have lost their relevance (Minow, 1961). However, violence is still omnipresent, and the Kardashians now represent unbelievable families. Commercials retain the cajoling element, and while modern special effects and the use of mainstream music can make them mildly exciting, the constant repetition dulls the initial impact. Thus, the necessity of diversifying and improving TV content is as dire as it was 60 years ago.
The screening could serve as a means to deviate from usual programs and commercials, but they are not entirely free of issues. For instance, presidential debates are an inherent part of American political and media life as they can determine who will win the election. It is the current state of affairs, but the debate under consideration was the first to be televised. In a way, the program did provide an alternative to the wasteland, as the participants discussed important questions regarding the nation, which is a significant improvement over hours of entertainment offered by commercial channels (Williams, 1974). It could be television at its best when other media cannot relay the same information while preserving the presentation’s efficacy. Debates would eventually become part of the wasteland and adopt its disingenuous and rating-chasing elements, but for the time being, it was fresh and more akin to high-quality content offered by TV broadcasting.
A tour of the White House also seems to be on the superior side of programs. Its purpose is to educate and let people unable to experience the historical building first-hand have an opportunity to do so. While it may seem boring due to the absence of consistent overarching commentary, the tour can be a legitimate program with improvements. However, it is essential to preserve the current, real-time feeling. It could have been novel for the 60s and even work nowadays because some people do not have access to online tours from the Internet. Regardless, the tour’s educational value would separate it from the wasteland and add novelty to TV broadcasting.
The case of The Atomic Café is more complicated, and both the trailer and the actual documentary should be considered. The former fits the wasteland’s description, including mayhem and violence (Minow, 1961). It is provocative and has military propaganda elements, making the viewer feel as if the threat was real. While the trailer appropriately performs its advertising function, whether the documentary is faithfully presented is another question. The idea was to remind Americans of how dangerous nuclear warfare was and that the danger had been diminished throughout decades, so it also has an enlightening function (Schindel, 2018). Perhaps, the trailer managed to relay the idea, but it could not entirely avoid using the wasteland’s features, making one wonder whether it is possible.
The last point connects to Minow’s expectations of the commercial medium, which may seem contradictory to its nature. After all, the audience’s demand manifested in ratings determines what kind of content will be shown to them. However, it appears feasible to perform quality control for programs and base the competition on who provides the best instead of the most. The elements identified as the wasteland can exist, but they should do more than entertain. Minow’s insistence that channels should offer more options and diversify their content is sensible, and even viewers might find the initiative interesting. The US has always been a melting pot, so the TV audience is not uniform. If the medium presents something targeting a previously unexplored demographic, it will find its fans. They might not be numerous, but loyalty is also a valuable asset. Having a patchy land with mainstream and niche programs seems more viable in the long run than a wasteland.
References
Minow, N. N. (1961). Television and the public interest. AmericanRhetoric. Web.
Schindel, D. (2018). The comic absurdity of the atomic threat. Hyperallergic. Web.
Williams, R. (1974). Television: Technology and cultural form. Fontana.