Our new mode is to see the kinds of stories Grace covers not as one-off scandals but as evidence of racism, sexism, or some other deep societal flaw. This may also be why her coverage of the Black Lives Matter movement felt so forced-the unrelenting news of police shootings has made it impossible to pretend that each new case is somehow phantasmagoric or strange. But even when she was right-and it is hard to deny there was some satisfaction to be found in her medieval wrath-she was so enamored of human drama that she was too often blind to the context around it, so focused on giving us villains that she ignored the structures that aided and protected them. It’s worth noting that alignment with the perspective of victims is now the default media position in a way that it once wasn’t and that Grace may even be partly to thank for this development. Banfield’s somber, steady approach may have been better pitched to viewers attuned to seeing a case like this as part of a wider cultural struggle.
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