Emily Ramshaw and Amanda Zamora saw the need for a new newsroom, one that centers women and women’s issues in a male-dominated field. In late 2019, they began a journey to found The 19th*, a newsroom built by and around women. Their efforts, however, were quickly stymied by a notable public health crisis, the beginning of the COVID pandemic. The 19th* presses forward, however, successfully beginning reporting in the summer of 2020. This documentary follows the co-founders and the original newsroom through 2022 as they struggle to find their niche and stay true to their stated values in a corporate news world that prizes shock and sensationalism above journalistic integrity.
Breaking the News is a must-see documentary for anyone who works in journalism or is studying to get into the field. The 19th*’s unique rise to independent newsroom fame is one for the history books, and the experiences of the editors and journalists contained within will be endlessly valuable to people who want to make changes in the field. However, a focus on the corporate ins-and-outs of maintaining funding and trying to communicate with executives will likely prove uninteresting to people just looking to watch a documentary, even if those same elements provide useful insight for those interested in how newsrooms actually function.
Likewise, there is a lack of real coverage of some topics used to pitch this documentary. We do see some surface-level exploration of the COVID pandemic and queer issues, but Breaking the News really lacks the depth one would expect of a queer or COVID documentary. The apparent solution to having too few queer voices in the newsroom was working the sole queer journalist until burnout, repeating “we’re working on it” like a prayer in regards to hiring more queer journalists for the beat. Similarly, little is said about COVID, and we often see preventative measures being shirked without question during what many consider to be the height of the pandemic. Major issues like COVID serve only as a backdrop, and the lack of material support for elevating queer voices by hiring more queer journalists is mentioned but never seriously revisited or resolved.
That doesn’t mean Breaking the News is a bad documentary. On the contrary, many segments are incredibly engaging, and the film is consistently at its strongest when it centers on the journalists themselves. I particularly liked when the focus was on editor Errin Haines, as she had a lot of experience and frustrations to share that will be invaluable to up-and-coming journalists. The film is at its strongest when it focuses on the writers, and those moments give it a clear sense of purpose and energy that carries through even its more uneven sections. Those who are interested in the creation of news organizations or modern journalism will likely consider Breaking the News an unofficial editor’s choice.
For general documentary audiences, however, it might not reach the same levels of fascination or engagement, and for those interested in queer or COVID documentaries, it will be disappointing. Still, for viewers interested in journalism, media ethics, or the realities of building a mission-driven newsroom, there is a great deal here to appreciate. The documentary’s strengths ultimately lie in its access, its perspective, and the voices it elevates. Recommended.
How can educators use this journalism documentary in the classroom?
Breaking the News works especially well in courses focused on journalism, media studies, gender studies, or communications. Its behind-the-scenes look at The 19th* provides students with a practical understanding of how a modern newsroom operates, particularly one attempting to balance mission-driven reporting with financial sustainability. While the documentary is lighter on deep dives into specific issues like COVID or queer coverage, it offers strong insight into editorial decision-making, newsroom culture, and the challenges of maintaining journalistic integrity.
Is this documentary a good choice for library collections or community programming?
Yes, particularly for libraries serving students, aspiring journalists, or patrons interested in media and social issues. While it may not have the broad appeal of more traditional or issue-driven documentaries, its access to a working newsroom and its focus on women-led journalism make it a valuable addition in the right context. It is best suited for targeted programming, such as discussions on media representation, newsroom diversity, or the future of journalism, where its strengths can be fully appreciated.
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