I was watching the new season premier of House, all in all rather good. And I didn’t bother to change the channel, and so was rewarded with the first episode of Standoff.
Reasonably good, I don’t know if I’ll watch it regularly. A series about hostage negotiators isn’t the most thrilling thing in the world, but I will watch it at least a couple more times to see how it goes.
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I give them one and a half thumbs up for having a Muslim terrorist on the first episode.
Of course, he’s not the stereotypical person of Arabic extraction, but an American of Caucasian ancestry. Understandable, I give no demerits for that.
What was disappointing though was that they felt like they had to soften things even more by making the villain’s crisis about his dysfunctional relationship with his mother, and he was just using Islam as an excuse. The terrorism expert says if he were a real suicide bomber, there would be no realistic possibility of negotiating with him, and the day is saved only because he is actually a plain run of the mill disturbed twenty-year-old.
That seems like a bit of a copout.
A civilization is shaped to a considerable extent by its entertainment. We tell stories to reflect reality. The best stories are those that reveal some truth about life. Stories are told mainly to tell either what really happened, what might have happened, or what we wish happened.
Now, if by putting a twist on what seems at first glance to be a stereotypical “Durka Durka Mohammed Jihad” terrorist attack but is actually slightly different, is meant just for having an original plot line, fine. If however, it is meant to give lip service to the existence of Islamic terror while cutting out the substance by injecting as much political correctness as possible, then shame on them.
Of course I could be overanalyzing things, but with the recent problems with South Park, you have to wonder to what extent the entertainment industry is consciously tiptoeing around the issue.
Is it an intellectually honest attempt at creativity, or a wishful attempt at denying the existence of a large threat fueled by madness, by dissecting it into a bunch of tiny ones fueled by semi-rationalized dysfunctional relationships?
That’s a question that has to be answered.
I’m not saying every TV series and movie for the next five years should feature Wahhabi Islamic supremacists as the bad guys, or even lots of them. Just a couple would be enough.
The point is this:
Trying to be clever is okay.
Trying to deflect hostility from the real world’s bad guys by softening them up on TV is not so good.
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