Ball stopped: “Can we do this again? Why was that so early?” This is the only reshoot that I witnessed during my visit. A control-room engineer who was working the show’s video TriCaster console threw up a graphic a beat too soon. When I arrived at the studio, Ball was recording a monologue about Ukraine in which she inveighed against “the baked-in pro-war bias” of cable news. To meet this production schedule, the hosts attempt to record each block using as few takes as possible. A segment filmed in the morning might be out of date by the afternoon. This speed is necessary because “Breaking Points” is attempting to approximate, using the tools of Internet publishing, the immediacy of live news broadcasting. The episodes are released in both audio and video formats almost immediately after they’re filmed. #The rise of the creative class amazon fullThe show, which stars Krystal Ball, a former MSNBC host, and Saagar Enjeti, a former White House correspondent for The Daily Caller, produces three full episodes a week, sometimes adding extra “mini” shows responding to current events. It was already close to ten.Įverything about the production of “Breaking Points” is fast. “We’ll post the show on YouTube by eleven,” Lynch explained. Unlike those traditional shows, however, this control room also contained a much younger engineer, hunched over a computer screen, furiously editing the video streaming in from the studio. The scene reminded me of any number of studios that I’ve passed through for television appearances. Three experienced-looking, middle-aged engineer types staffed the video boards. Earlier this spring, I made my way to a modest broadcast studio, situated on the second floor of a polished office building in downtown Washington, D.C., to watch a taping of an Internet news program called “Breaking Points.” The show’s producer, a young man named James Lynch, met me in the lobby and led me to a crowded control room.
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