Looking back on our coverage of the 9/11 terrorist attacks and their impact on different facets of our industry, I recall nurturing a budding hope 10 years ago that certain positive media developments might come out of the tragedy.
For one, I thought 9/11 could serve as a wake-up call for mass media, triggering coverage of more serious news and stories, phasing out the tabloid journalism values that had become mainstream much to the detriment of our society. Clearly with the benefit of 20-20 hindsight, my wish was pure Naivetß.
I also thought 9/11 would bring us all together in a lasting way. It undeniably has in some respects yet at the same time hasn’t made a dent in the polarization that plagues us and which has grown exponentially over the past decade. Again, my Naivetß is showing.
My two wishes didn’t come true in large part because there’s too much profit in tabloid fare and in the ratings-generating polarization that seems more intent on creating a riled-up electorate rather than an informed one. I have no problem with commentators stirring the pot but it seems to be taking time, resources and priority away from the thoughtful news and reportage that can make a truly positive difference in our lives.
But before this sinks into a diatribe on what ails us, there are reminders all around of what’s great about this country as the 10th anniversary of 9/11 is commemorated. And thankfully part of it is evident in the media landscape, sans the bluster of cable and radio personalities, and instead conveyed in the voices of everyday Americans who suffered the greatest losses of all on 9/11. Capturing those voices is StoryCorps, the national nonprofit oral-history organization. For the past five years, StoryCorps has worked to record one story to honor each life lost on Sept. 11, 2001. Thus far, survivors, families, friends and rescue workers have memorialized nearly 600 individual victims of the attacks through StoryCorps interviews.
And three of those stories have been made into short films, animated by the Rauch Brothers. Created with the assistance and consent of the families of the victims memorialized, these shorts are:
• Always a Family. Monique Ferrer remembers her last conversation with her ex-husband, Michael Trinidad, who was killed in the World Trade Center.
• She Was the One. Richard Pecorella remembers the love of his life, Karen Juday, a secretary for Cantor Fitzgerald, who was killed in the World Trade Center attacks.
• John and Joe. John Vigiano Sr. lost both his sons on Sept. 11. John Jr. was a firefighter like his dad; Joe was a police detective.
All three shorts debuted on storycorps.org/animation, are being broadcast on public TV stations nationwide, and on Sept. 11th appeared on YouTube’s homepage. (See all three shorts below.)
These stories are emotionally moving and a reminder of a tragedy that I had hoped would be moving enough so that our media would behave differently and more responsibly. Perhaps if those in positions of media power look at these stories with an open mind, they can now find the inspiration to act accordingly.
Utah Leaders and Locals Rally To Keep Sundance Film Festival In The State
With the 2025 Sundance Film Festival underway, Utah leaders, locals and longtime attendees are making a final push — one that could include paying millions of dollars — to keep the world-renowned film festival as its directors consider uprooting.
Thousands of festivalgoers affixed bright yellow stickers to their winter coats that read "Keep Sundance in Utah" in a last-ditch effort to convince festival leadership and state officials to keep it in Park City, its home of 41 years.
Gov. Spencer Cox said previously that Utah would not throw as much money at the festival as other states hoping to lure it away. Now his office is urging the Legislature to carve out $3 million for Sundance in the state budget, weeks before the independent film festival is expected to pick a home for the next decade.
It could retain a small presence in picturesque Park City and center itself in nearby Salt Lake City, or move to another finalist — Cincinnati, Ohio, or Boulder, Colorado — beginning in 2027.
"Sundance is Utah, and Utah is Sundance. You can't really separate those two," Cox said. "This is your home, and we desperately hope it will be your home forever."
Last year's festival generated about $132 million for the state of Utah, according to Sundance's 2024 economic impact report.
Festival Director Eugene Hernandez told reporters last week that they had not made a final decision. An announcement is expected this year by early spring.
Colorado is trying to further sweeten its offer. The state is considering legislation giving up to $34 million in tax incentives to film festivals like Sundance through 2036 — on top of the $1.5 million in funds already approved to lure the Utah festival to its neighboring... Read More