In yesterday’s post, I began to explore the questions posed to me by W. David O. Taylor about why marriage is often treated in such an unseemly light in much of current TV and film.
Having addressed the divide between what is being pitched or written in Hollywood and what is being made there, a divide whose numbers alone would likely assure Taylor that more redeeming efforts of the kind he describes are being made than meet the screen, I now come to the heart of his inquiry.
Is there any reason why the complexities and tensions as well as pleasures and inherent “goods” of traditional marriage no longer capture the imaginations of producers and writers? Is it a dramatically uninteresting subject matter? Is the fact that over 50% of today’s marriages end in divorce a reason why writers cannot imagine it any other way? Is it a matter of a “trend”?
It’s hard not to hear each successive question for its rhetorical effect. My first response was to add one of my own to the list: is a generally disenchanted picture of marriage in our entertainment climate an unconscious, cultural form of collective self-amelioration, by which we come away feeling better about our own marriages in comparison?