The dramatic return of 60 Minutes on the weekend raises new questions about so-called “death knocks”.

In the first story, reporter Michael Usher interviews the Keep family, who last month lost baby Jessica and both grandmothers in the Grantham flooding.
The 23-month-old was torn from her pregnant mother’s arms. It is difficult to imagine a greater tragedy.
The interview with Matt and Stacey Keep is conducted with compassion and dignity. That is, until Usher takes the grieving mother to the nearby railway line where she lost her grip on her precious child.
It is almost unbearable to watch. The seven-months pregnant woman points to the spot where her leg became trapped under a sleeper, and she can’t hold on any longer.
“I’ll never forget it, that feeling, having your own child swept away from your arms and there’s nothing you can do. A piece of my heart that’s missing, I’ll never get it back,” she sobs.
As Stacey whispers, “if only, if only”, Usher does his best to comfort her. But the camera lingers too long. The grief is so raw. And the journalist, too much a part of the story.
The reporter-as-star style of the show is inappropriate in this instance. So too the promos, showing the hardened reporter dissolving into tears.
I have no doubt that Usher’s emotions are real. But promoting the tears of someone looking through the window of grief, belittles the tragedy of those suffering.
In his blog, Usher is at pains to point out that the crew spent days with the family to make sure they were comfortable telling their story.
Death knocks can serve a worthwhile purpose. Matt Keep wants to pressure investigators to reveal why Grantham residents had no warning of the disaster. He also wants to raise money to build a playground to replace the one lost in the floods. (You can donate on www.granthamfloodsupport.com) These are noble aims.
British journalism lecturer Jackie Newton sums up why the death knock is a valid practice: “Most families actually want to speak to the media. After all, it’s their story – not yours. It gives you access to the people who actually count in the story, and you can be confident you have the facts.”
There will always be reporters who cross the line. I remember one, from Channel 7 in Melbourne, who’d routinely steal family photos from the homes of grieving relatives.
And what about this from former reporter Geraldine Hayward, writing in the Press Gazette: “I’d invite myself into your grief, trample around your tortured soul, grab a photograph, and zip back to the office to bang out 300 words of tastefully titillating obituary.”
It is up to the journalists, producers and TV executives to set appropriate boundaries. Perhaps this was simply too much, too soon.
Maybe it was the voyeuristic feel of the finished product. Or perhaps I’m oversensitive, as the mother of children of a similar age.
It was compelling television. But it felt like the network was trampling over a family’s grief in a desperate bid for ratings.
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