nytimes.com
Comedians' Onstage Confessions: A Trope's Rise and Potential Evolution
The frequent portrayal of comedians' emotional confessions in TV and movies, exemplified by characters like Deborah Vance in "Hacks," stems from its dramatic efficiency, offering a concise way to convey complex emotions and character development, despite sometimes lacking realism.
- How does the use of this trope differ between movies aiming for realism versus those leaning towards heightened drama?
- This trope's prevalence is linked to its efficiency in storytelling. Instead of complex scene-building, a confessional monologue immediately reveals character depth and motivations, driving the plot forward. This method avoids the nuanced portrayal of emotional development, which is harder to achieve.
- What are the potential consequences of overusing this trope, and how might it evolve in the future to maintain its effectiveness?
- The future of this trope may involve more nuanced and less formulaic approaches. As audiences become more sophisticated, a simple confession might lose its impact. Future depictions might focus on the consequences and complexity following a moment of vulnerability instead of solely the moment itself.
- Why has the trope of comedians suddenly becoming confessional become such a prevalent storytelling device in film and television?
- The trope of comedians "getting real" in TV and movies stems from its dramatic effectiveness, providing a concise way to convey complex emotions and character development. It offers a shortcut for filmmakers to showcase a character's internal struggles, creating a pivotal moment.
Cognitive Concepts
Framing Bias
The article frames the 'getting real' trope as a common and somewhat clichéd device in TV and film. This framing, while accurate, subtly casts the trope in a negative light (corny, rigid script) which might influence the reader's perception of its use in storytelling.
Language Bias
The language used is largely neutral and descriptive. Terms like 'corny' and 'rigid script' express a mild criticism, but are not overly loaded or inflammatory.
Bias by Omission
The analysis focuses heavily on examples from film and television, potentially overlooking real-world instances of comedians incorporating personal experiences into their acts. While acknowledging exceptions like Jerrod Carmichael, the piece may underrepresent the diversity of approaches comedians use to integrate personal experiences into their work. The focus on dramatic, televised moments might create a skewed perception of how often this happens in reality.
False Dichotomy
The article presents a somewhat false dichotomy between the 'getting real' trope in media and the reality of stand-up comedy. It suggests this trope is almost never seen in real life, yet acknowledges exceptions, creating an overly simplistic contrast.