Theorist Stuart Hall eloquently summarized just how the industry of media presents texts to us and how these texts are translated stating that, “Media gives messages to audiences. How these messages are understood or “decoded” depends on the individual’s culture, socioeconomic status, and their own experiences.” This analysis of media within a certain text, specifically television, draws much interest when we begin to observe how one’s ideological viewpoints, backgrounds, cultures, and economical stature come to shape one’s interpretation of media. It is critical for us to understand how an individual processes a text. This can further help us understand television’s functionality, offering one of the most effective ways to interrogate television’s form as a growing platform for delivering information, ideas, and meaning. Media is a consistently revolving door, offering us glimpses of a wide array of text. With this rapid “firing” of information come opportunities that give us a chance to decipher certain information into meaning from the given text, all based on an individual’s process of understanding. Ideological criticism is concerned with the ways in which cultural practices and artifacts, in this present case television, produce particular cognition and positions for its users. The theories of David Morley and Stuart Hall both serve as complimentary vices that help further the investigation of how these cultural practices make room for varying discourse among people. Stuart Hall offers that the process of encoding and decoding is the translation of an easy-to-understand message; when you decode a text, or representation of media, you are doing so utilizing terms that you yourself can easily understand. This understanding of the text is done in a way that gives meaning to a show or program. The meaning that we take from a given text, ultimately informs the “sender” (the producers of a show) on what meaning is actually being derived from the text. However, decoding, along with the interpretation behind the decoded message, can change based on what the decoder already knows. David Morley echoes Hall’s idea of “the message” playing a significant role in what we derive from TV programs, stating “programs communicate much more than the explicit. There are latent messages hidden in bodies of work through assumption, connotation and implica