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90's

The Image – A Look at Television Ethics & the Price of Ratings

The Image - A Look at Television Ethics & the Price of Ratings
The Image (Photo/HBO Pictures)

The Image, a powerful, made-for-HBO drama directed by Peter Werner, serves as a prescient and chilling critique of the burgeoning sensationalism in broadcast journalism. The film delves into the moral decay that occurs when the pursuit of high ratings overshadows truth and ethical responsibility, an issue that became increasingly pertinent in the 1990s news landscape.

The plot centers on Jason Cromwell (Albert Finney), a once-revered, old-school news anchor whose career is entering a decline due to his measured, sober approach to reporting.

Feeling the pressure from aggressive network executives, Cromwell reluctantly agrees to a new, sensationalist direction for his show, adopting a style that exploits tragedy and prioritizes raw emotional impact over journalistic integrity.

This shift in ethics is driven by the internal politics of the network.

Devereaux’s newfound commitment to shock value culminates in a televised segment that ruthlessly exposes a vulnerable individual.

The resulting public humiliation and intense pressure lead directly to a devastating, highly public tragedy.

The film then becomes a gripping internal drama, focusing on the immediate fallout: an intense ethical and professional investigation into the choices made by the network and Devereaux himself.

Marsha Mason, Brett Cullen, John Mahoney, Kathy Baker, and Swoosie Kurtz anchor the supporting cast as colleagues and investigators, each wrestling with their own complicity and conscience.

Spalding Gray, Wendy Jo Sperber and Jim Haynie round out the cast.

Brad Pitt has a brief appearance as Steve Black.

The Image - A Look at Television Ethics & the Price of Ratings

Albert Finney and John Mahoney in The Image (Photo/HBO Pictures)

Legacy for The Image

The legacy of The Image lies in its status as a foundational TV movie that laid bare the corrosive effects of ratings competition. It provided an early, sharp warning about the 24-hour news cycle’s potential to create victims out of news subjects.

The Image remains a potent, dialogue-heavy morality play that forces the audience to consider the human cost of the television news they consume.

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