The entertainment content generated by Hurricane Katrina tells a story not just about a flood, but about the media’s power to define, exploit, or redeem tragedy. Spike Lee’s requiem, David Simon’s cultural novel for television, and Lil Wayne’s wounded fury stand as counterpoints to the shallow disaster-epic framing. They argue that entertainment can be a form of historiography—a way to ensure that the systemic failures that led to the catastrophe are not forgotten.
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