Bourkes and Boomgaarden (2015, p.703) corroborate, labelling delineations between hard and soft news an “oversimplified dichotomy” as “most news coverage has characteristics applying to hard news as well as to soft news, and is not an ‘either-or circumstance.’” Further, Zungia and Hinsley (2013, p.937) identify appreciation of ‘good journalism’ is inextricably linked to “frequent users of traditional media sources, [who were] also were more likely to include infotainment in their news diets.” Evidently, consuming both hard news and entertainment journalism exposes audiences to diverse perspectives, allowing comprehensive insights, and re-evaluation of preconceived biases. Still, scarce integration of hard news values was a prominent concern throughout my internship. As The Good Guide exclusively produces entertaining content, traditional news values are distorted. Although this is an understandable thematic choice, articles occasionally became hyperbolic, partially detracting from credibility and authenticity. Banes (2014, p.85) foregrounds this, noting, “[in entertainment journalism] news criteria such as proximity and accessibility are more important than factors such as timeliness or relevance.” Thus, while news values are still incorporated, a broader appeal is required, meaning “timeless soft issues” are preferred (Banes 2014, p.85). Ultimately, Stockwell (2004, p.6) theorises, “perhaps the most effective journalism has always been a combination of news and entertainment.” Thus, rather than restricting hard news, entertainment journalism offers diverse possibilities. Ostensibly, fluid interactions between hard news and entertainment journalism cultivate a symbiotic relationship, wherein each genre incorporates normative procedures to enhance audience engagement, and disseminate relevant
Bourkes and Boomgaarden (2015, p.703) corroborate, labelling delineations between hard and soft news an “oversimplified dichotomy” as “most news coverage has characteristics applying to hard news as well as to soft news, and is not an ‘either-or circumstance.’” Further, Zungia and Hinsley (2013, p.937) identify appreciation of ‘good journalism’ is inextricably linked to “frequent users of traditional media sources, [who were] also were more likely to include infotainment in their news diets.” Evidently, consuming both hard news and entertainment journalism exposes audiences to diverse perspectives, allowing comprehensive insights, and re-evaluation of preconceived biases. Still, scarce integration of hard news values was a prominent concern throughout my internship. As The Good Guide exclusively produces entertaining content, traditional news values are distorted. Although this is an understandable thematic choice, articles occasionally became hyperbolic, partially detracting from credibility and authenticity. Banes (2014, p.85) foregrounds this, noting, “[in entertainment journalism] news criteria such as proximity and accessibility are more important than factors such as timeliness or relevance.” Thus, while news values are still incorporated, a broader appeal is required, meaning “timeless soft issues” are preferred (Banes 2014, p.85). Ultimately, Stockwell (2004, p.6) theorises, “perhaps the most effective journalism has always been a combination of news and entertainment.” Thus, rather than restricting hard news, entertainment journalism offers diverse possibilities. Ostensibly, fluid interactions between hard news and entertainment journalism cultivate a symbiotic relationship, wherein each genre incorporates normative procedures to enhance audience engagement, and disseminate relevant