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It was the end of the long-running T.V. series “Cold Feet” this week, and as I watched the final episode with my best friend I suddenly realised something. There were probably millions of people out in T.V. land watching this episode, and like my best friend, at that moment they too were probably blubbering away, releasing enough combined tears to create a European Niagara Falls.
I do believe that sometimes viewers forget that the characters in these programmes are fictional. I can understand, however, how viewers become attached to the characters, and how Rachel’s demise can have brought a tear to the dedicated viewers of “Cold Feet”. At one moment Rachel was exulting over the fact that she and Adam had managed to buy their house. At the next a gravel truck had joined her in the front seat of her car and she was on her way to an appointment with the life-support machine - the television dramatist’s most cherished instrument of torture.
We all know the death is entirely fictional, and that it does not matter to us in our daily lives, yet it affects some people’s emotions in a way I will never understand. A programme as successful as “Cold Feet” was bound to come to an end sooner rather than later. It’s difficult to maintain interesting plotlines week after week to keep the viewers happy. And with the end of programmes as successful as this always comes the grand finale- the unfailing emotional jolt.
Death is as close as most series’ ever come to a full stop, and it is also the plotline that attracts the most viewers, toying with their emotions all the while. The death of a popular T.V. character can be like a personal bereavement for some viewers. For many devoted fans of “Cold Feet”, Rachel and Adam were probably more significantly present as human beings than their own distant relatives. They saw them more often and knew more about their desires and weaknesses.
And while you might wish that people would spend more time with real people rather than fictional ones, you can’t sensibly deny that these fictional people occupy an important psychological space in some people’s lives. So when they disappear the sense of loss isn’t merely an illusion. A continuity has been broken. Day after day reality and fiction collide in our emotions. The events of our favourite T.V. programmes affect some long after the rest of us have turned off the T.V. It has become an integrated part of modern life.
I do believe that sometimes viewers forget that the characters in these programmes are fictional. I can understand, however, how viewers become attached to the characters, and how Rachel’s demise can have brought a tear to the dedicated viewers of “Cold Feet”. At one moment Rachel was exulting over the fact that she and Adam had managed to buy their house. At the next a gravel truck had joined her in the front seat of her car and she was on her way to an appointment with the life-support machine - the television dramatist’s most cherished instrument of torture.
We all know the death is entirely fictional, and that it does not matter to us in our daily lives, yet it affects some people’s emotions in a way I will never understand. A programme as successful as “Cold Feet” was bound to come to an end sooner rather than later. It’s difficult to maintain interesting plotlines week after week to keep the viewers happy. And with the end of programmes as successful as this always comes the grand finale- the unfailing emotional jolt.
Death is as close as most series’ ever come to a full stop, and it is also the plotline that attracts the most viewers, toying with their emotions all the while. The death of a popular T.V. character can be like a personal bereavement for some viewers. For many devoted fans of “Cold Feet”, Rachel and Adam were probably more significantly present as human beings than their own distant relatives. They saw them more often and knew more about their desires and weaknesses.
And while you might wish that people would spend more time with real people rather than fictional ones, you can’t sensibly deny that these fictional people occupy an important psychological space in some people’s lives. So when they disappear the sense of loss isn’t merely an illusion. A continuity has been broken. Day after day reality and fiction collide in our emotions. The events of our favourite T.V. programmes affect some long after the rest of us have turned off the T.V. It has become an integrated part of modern life.
Lindgren wrote:
> It was the end of the long-running T.V. series “Cold Feet” this week,
> and as I watched the final episode with my best friend I suddenly
> realised something. There were probably millions of people out in T.V.
> land watching this episode, and like my best friend, at that moment
> they too were probably blubbering away, releasing enough combined
> tears to create a European Niagara Falls.
Here's the first thing that I find quite funny about not only this nation, but pretty much the entire world - how they can cry over something that is a fabrication of the highest order is beyond me. Knowing that it's fake is just a total turn-off to me. I'll watch it, enjoy it, but it won't make me blubber like a b!tch with a grazed knee.
> I do believe that sometimes viewers forget that the characters in
> these programmes are fictional. I can understand, however, how viewers
> become attached to the characters, and how Rachel’s demise can have
> brought a tear to the dedicated viewers of “Cold Feet”. At one moment
> Rachel was exulting over the fact that she and Adam had managed to buy
> their house. At the next a gravel truck had joined her in the front
> seat of her car and she was on her way to an appointment with the
> life-support machine - the television dramatist’s most cherished
> instrument of torture.
This is going to sound cruel, but I just feel that the way in which they showed Rachel's death didn't make me cry or feel sorry for her, but actually made me laugh. Now believe me, I'm mature for my age, but the way in which she:
a) Turned away to put a tape in as a massive truck comes hurtling towards here
b) Adding insult to injury, not only is she hit by a massive f***-off truck, but then she's pushed into another car that crushes her from the other side.
How's that for a reply, eh? :P
> It was the end of the long-running T.V. series “Cold Feet” this week,
> and as I watched the final episode with my best friend I suddenly
> realised something. There were probably millions of people out in T.V.
> land watching this episode, and like my best friend, at that moment
> they too were probably blubbering away, releasing enough combined
> tears to create a European Niagara Falls.
Here's the first thing that I find quite funny about not only this nation, but pretty much the entire world - how they can cry over something that is a fabrication of the highest order is beyond me. Knowing that it's fake is just a total turn-off to me. I'll watch it, enjoy it, but it won't make me blubber like a b!tch with a grazed knee.
> I do believe that sometimes viewers forget that the characters in
> these programmes are fictional. I can understand, however, how viewers
> become attached to the characters, and how Rachel’s demise can have
> brought a tear to the dedicated viewers of “Cold Feet”. At one moment
> Rachel was exulting over the fact that she and Adam had managed to buy
> their house. At the next a gravel truck had joined her in the front
> seat of her car and she was on her way to an appointment with the
> life-support machine - the television dramatist’s most cherished
> instrument of torture.
This is going to sound cruel, but I just feel that the way in which they showed Rachel's death didn't make me cry or feel sorry for her, but actually made me laugh. Now believe me, I'm mature for my age, but the way in which she:
a) Turned away to put a tape in as a massive truck comes hurtling towards here
b) Adding insult to injury, not only is she hit by a massive f***-off truck, but then she's pushed into another car that crushes her from the other side.
How's that for a reply, eh? :P
Any responses would be welcome!
It was the end of the long-running T.V. series “Cold Feet” this week, and as I watched the final episode with my best friend I suddenly realised something. There were probably millions of people out in T.V. land watching this episode, and like my best friend, at that moment they too were probably blubbering away, releasing enough combined tears to create a European Niagara Falls.
I do believe that sometimes viewers forget that the characters in these programmes are fictional. I can understand, however, how viewers become attached to the characters, and how Rachel’s demise can have brought a tear to the dedicated viewers of “Cold Feet”. At one moment Rachel was exulting over the fact that she and Adam had managed to buy their house. At the next a gravel truck had joined her in the front seat of her car and she was on her way to an appointment with the life-support machine - the television dramatist’s most cherished instrument of torture.
We all know the death is entirely fictional, and that it does not matter to us in our daily lives, yet it affects some people’s emotions in a way I will never understand. A programme as successful as “Cold Feet” was bound to come to an end sooner rather than later. It’s difficult to maintain interesting plotlines week after week to keep the viewers happy. And with the end of programmes as successful as this always comes the grand finale- the unfailing emotional jolt.
Death is as close as most series’ ever come to a full stop, and it is also the plotline that attracts the most viewers, toying with their emotions all the while. The death of a popular T.V. character can be like a personal bereavement for some viewers. For many devoted fans of “Cold Feet”, Rachel and Adam were probably more significantly present as human beings than their own distant relatives. They saw them more often and knew more about their desires and weaknesses.
And while you might wish that people would spend more time with real people rather than fictional ones, you can’t sensibly deny that these fictional people occupy an important psychological space in some people’s lives. So when they disappear the sense of loss isn’t merely an illusion. A continuity has been broken. Day after day reality and fiction collide in our emotions. The events of our favourite T.V. programmes affect some long after the rest of us have turned off the T.V. It has become an integrated part of modern life.
I do believe that sometimes viewers forget that the characters in these programmes are fictional. I can understand, however, how viewers become attached to the characters, and how Rachel’s demise can have brought a tear to the dedicated viewers of “Cold Feet”. At one moment Rachel was exulting over the fact that she and Adam had managed to buy their house. At the next a gravel truck had joined her in the front seat of her car and she was on her way to an appointment with the life-support machine - the television dramatist’s most cherished instrument of torture.
We all know the death is entirely fictional, and that it does not matter to us in our daily lives, yet it affects some people’s emotions in a way I will never understand. A programme as successful as “Cold Feet” was bound to come to an end sooner rather than later. It’s difficult to maintain interesting plotlines week after week to keep the viewers happy. And with the end of programmes as successful as this always comes the grand finale- the unfailing emotional jolt.
Death is as close as most series’ ever come to a full stop, and it is also the plotline that attracts the most viewers, toying with their emotions all the while. The death of a popular T.V. character can be like a personal bereavement for some viewers. For many devoted fans of “Cold Feet”, Rachel and Adam were probably more significantly present as human beings than their own distant relatives. They saw them more often and knew more about their desires and weaknesses.
And while you might wish that people would spend more time with real people rather than fictional ones, you can’t sensibly deny that these fictional people occupy an important psychological space in some people’s lives. So when they disappear the sense of loss isn’t merely an illusion. A continuity has been broken. Day after day reality and fiction collide in our emotions. The events of our favourite T.V. programmes affect some long after the rest of us have turned off the T.V. It has become an integrated part of modern life.