Shattered Glass

          On the final page of almost every syllabus I have received in my career as a student, there has been a passage concerning classroom conduct and expectations. The focal point of this section, without fail, concerns the policies regarding the severity of plagiarism and the consequence of inauthentic work. Most of us have a well-founded understanding of this notion once we reach the professional world, unless of course you are one of those masterminds who have made working the so-called “system” their craft. Billy Ray’s film Shattered Glass presents exactly that in its adaptation of the life of Stephen Glass, former writer for the acclaimed magazine “The New Republic,” who was caught fabricating over dozens of his published works.

            This film put forth the anticipated themes; the detriment one irresponsible journalist can have on a reputable publication and the sacred obligation to produce the truth and the ramifications when that commitment is affronted. Amid these commentaries on journalistic integrity, however, I recognized a much more potent societal critique despite its subtlety. I wasn’t alerted to its presence until Glass’s editor (Peter Sarsgaard) broke down in utter frustration, “We printed fiction after fiction after fiction because we found it entertaining. And that is indefensible.” Throughout the film, one is keenly aware of the office culture of The New Republic and its notoriety within the publication industry as a shaper of legislation and barometer of the public wherewithal. It is a magazine written by intelligent people for intelligent people. Glass (Hayden Christensen), however, garners his popularity amongst his peers using charming, provocative, and ultimately fictitious stories.

            I could not help but be reminded of contemporary mainstream media after the delivery of Sarsgaard’s comment. While the journalism industry is rife with well-trained and assiduous writers, so much of what the public yearns for is superficial storylines that function not so much to inform, but to entertain. The façade orchestrated by Stephen Glass certainly illuminated the importance of responsible and diligent reporting, but it also opened my eyes to the culture that has developed in American society. Glass may have been using his elaborate fabrications to promote his own success, but he was also supplying the demand of an audience that craved amusement. The public’s infatuation with controversy, absurdity, and violence is directly reflected in our mainstream media characterized by high- speed car chases, celebrity scandals, and an overall air of negativity.  An inherent onus lies on the media to put forth reliable and genuine information to the public, however, an undeniable responsibility also lies on the audience to recognize valuable journalism and deplore the sort that merely seeks to feed our appetite for grandeur.