Writings about the relationships between the news, politics, and art often repeat that art cannot possibly react to the news as quickly as the morning Times; that art cannot affect change or influence current events with the same efficacy as, say, street protests, elections, or nationally televised speeches. Godoy’s embodiment of the figure of the newscaster is not an attempt to make art as effective or responsive as the news per se. Rather, it is a method of slowing down the news, allowing it to tickle the spine, to disturb the mind, to be repeated, to be fragmented and reconstructed. Alternate stories emerge. Parallel lines are uncovered.