The Children’s Hour
Why O why would anyone, under any imaginable set of circumstances, ever look to anyone in Hollywood for moral guidance? The disease of the cult of celebrity is now so pervasive and runs so deep that we’re coming to rely on show-biz types not only for governance but increasingly, it seems, for instruction on how to live our lives.
That, to repeat a refrain from my last piece, is madness. (Both this screed and the “Canary” are far more deeply intertwined than it might at first seem.)
We’re talking about entertainers here, for Chrissakes—people paid stupid sums of money to remain children, and just a generation or so removed from circus geeks.
And that goes right to heart of the matter—and the problem: Only a culture desperate to stay in a state of arrested development would ever come to rely so heavily on people who know so little about what it means to have a meaningful individual and social existence.
Hasn’t anybody read Pinocchio? No, that’s right—we only know the Disney version, and don’t know that in the original book the puppet, tired of being asked to try to separate right from wrong, quickly dispatches his cricket conscience by smashing him against the wall like a, well, bug.
That character in that book, at this moment, is us.
We’re settling for sham forms of morality and government, and—let’s be really honest—culture too. Everything seems safer and cleaner when you can hold the world at arm’s length, when you can indulge in a steady diet of atrocities without consequence, when you can damn others wantonly, without evidence or deliberation, from an unearned and simplistic sense of absolute certainty.
That kind of behavior can’t hold in any realistic version of reality. But, on the other hand, it’s the coin of the realm—the raison d’être—of movies, TV, and just about any other form of entertainment. There are a few exceptions, of course (fewer every day), but mainly these diversions exist to make life seem simpler and easier than it is by using cartoon heroes to clean up all messes (like Mommy putting the toys back in the crib), which, through identification, gives us an unrealistic and dangerous sense of control.
But trying to point any of this out is increasingly like trying to yell into the wind. The camps in these various actions are so deeply entrenched in their positions, so unwilling to see anything except in their own versions of black and white, that they’re completely blind to the fact that they’re all being played like fiddles.
But this is what happens when you forget that Hollywood is just an illusion, created to amuse you, and start to take its grease-paint, pasteboard, digital world for real.
Michael Gaughn—The Absolute Sound, The Perfect Vision, Wideband, Stereo Review,
Sound & Vision, marketing, product design, a couple TV shows, some commercials, and