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One reason TV and the movies distort life is that many of those who make the films and sitcoms are out of touch with the fulness of the truth. There are a few things I learned very early in my career as a television critic: We were interviewing the producer of a new television series, a program featuring a tempestuous romance between a slightly chubby, gray-haired, grandfatherly detective and a gorgeous twenty-year-old model.
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One of the writers asked if there was a reason that several programs with similar premises were being previewed for the press. Young women are discovering older men. The critic next to me, knowing I was new, directed my attention to a beautiful twenty-something woman in the back of the room.
His ideas are reinforced by Hollywood peers who approach the scenario from a similar perspective. And he seems truly puzzled when critics suggest that the relationship is not going to be acceptable in the eyes of most viewers.
In fact, viewers never did accept it; the series lasted only a few weeks. The experience taught me an important lesson: Most of them are male. There are some incredibly talented men running film studios, producing TV programs, and creating Hollywood magic.
Most of them are Caucasian. Of course, there are notable exceptions, with some significant inroads having been made by black artists. Most of them are forty-five to sixty years old.
The dominance of this age group is another limitation on perspective. Most of them are wealthy. A handful of producers is responsible for most of what you see.
Skim across the television dial five minutes before the hour—about the time programs are ending. The film world is a little more diverse, but the same people tend to make movies year after year.
Of course, the main reason some of those names show up over and over in film and television credits is that these creative people are talented and the public pays to see their work.
But the price we pay includes another limitation on perspective. They belong to a tight-knit fraternity. Those involved in the entertainment industry go to the same parties, talk to the same people, read the same publications, often share the same philosophies.
Ditto a new thought or idea. Judging by their works, most of them are irreligious. While many Lalalanders have some religious training in their background, most have turned their backs on organized religion.
Judging by their work, most of them are amoral.
Many in the entertainment industry are not sure if there is such a thing as morality. These individuals toy with the notion of right and wrong as if it is something that can be manipulated to suit different conditions and circumstances.
They twist values to suit whatever social trend is chic at the moment. Goodness and virtue are relative for them, determined more by convenience and impulse than any sort of absolute standard. Does that reflect life for the ordinary viewer? Most of us cling to long-established values and standards—marriage, with fidelity in the relationship, for example.John b watson behaviorism essays.2Research paper on unemployment quiz.2Uk essay xml dbq essay about progressive era dbq jess nevins incognito essays on global warming reel life vs real life essay real courage essay Oct 24, · The juxtaposition of real interviews with Ed Skip navigation Sign in.
Mindhunter vs Real Life Ed Kemper - Side By Side Comparison Video Essay - . November 6. Beyond the Sky () Ryan Carnes, Jordan Hinson, Martin Sensmeier, Don Stark, Peter Stormare, Dee Wallace. Chris Norton (Carnes) has been hearing about alien abductions his entire life but, in his gut, he knows they are not real.
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Additionally, a modern, real-life hero isn’t a costumed crime fighter, but an ordinary person who’s resolved to be “braver five minutes longer.” To be a modern hero comes along with great responsibilities, thus an ordinary man’s mentality has to suffer a modification in order to understand that such responsibility is assumed, not imposed.