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BlazeVOX [books] |
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1. Television gives new life to actors in the waste of their middle lives. Young actors are often typecast into corners where they can’t grow. They break down, usually publicly, and are not seen in serious roles again. That is, unless a midlife television career can save them. 2. Moving down the rungs, miniature stars can redeem themselves; redemption is, after all, what they wanted, not stardom, per se. But redemption is a personal matter. Therefore, it will just have to occur on the small screen. From the silver to the small. One thing that has not been investigated is how the same words take on different meanings if said in the context of (a) a movie or (b) a television show. These meanings converge in the DVD as outer light and inner light meet within the eye. 3. Of course, the money of television is never refused. Our lives (especially if we are actors) are too touched with debt for the money not to matter, but cash is often wrongly emphasized over the psychological in Hollywood stories if only because money is what we all have touched and have all been forced to part with. Who’s to say about luxury? If you made it I wouldn’t With its speakers in the living room Is what I’m forced to say, strangely To decide? Cannot be made of generosity For the future too will pass 4. It’s better for child actors now, as roles are less prescribed. Transitions are finally allowed to be represented. As Jacklyn Moore reports in the American Chronicle, “Although some child actors fail to grow into prominent actors, or later choose to follow a different path (as did Shirley Temple who became a successful public figure and diplomat), many of them flourish into movie stars and/or singing celebrities.” One way that child actors can fully transition into adulthood is through the small screen. Such a move allows them to fully become characters in a way that they never fully became people. That is, through fully representing a television character actors can potentially fully become themselves. 5. Because of its episodic nature, television demonstrates an actor’s capabilities to skeptics in a way that a single appearance in a movie usually cannot. That is, if you want to be treated like an adult you have to act like an adult. What hasn’t been investigated fully (or even really investigated at all) is how actors attach meaning to their lines. Adults feel the meaning of those lines, whereas child actors just repeat their lines like parrots, and not even smart parrots. 6. The bet of television is thinly stretched out over an entire season. The gamble can always be forfeited (and everybody knows this). However, in show business, always beware of succumbing to the gambler’s fallacy, the false belief that the likelihood of a random event can be predicted from other independent events. The randomness of stardom is only predicated on the randomness of the human condition (a person can always lie and thus, fool the predictor). 7. A failed actor can always bet on himself. If it comes to this it is always best to employ the betting strategy known as the “Martingale,” which entails doubling each bet after a loss until a win is achieved (or fails when the amount of the bet becomes excessive and the actor finally overdoses). 8. It’s the motion of taking a chance, of being picked up for a full season. Within the turning of guises lay the motion of love, 9. Case studies (factual information courtesy of Wikipedia):
10. In conclusion, television really can save lives.
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how television saves lives
francis raven |