American - Critic | December 5, 1957 -
The sitcom's traditional role has been to comfort the viewer who feels burdened by the unreality of American expectations.
Lee Siegel
ExpectationsAmericanComfortRole
Oprah's aspiration to inspire her audience with hope - elaborated on her TV show, in her magazine, and on her website - is hardly ignoble.
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In 1986, human nature in America started to change. That year, 'The Oprah Winfrey Show,' based in Chicago, became nationally syndicated, and the country entered the beginning stages of a quiet cultural revolution.
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A single week of Oprah takes you from bondage to all the violent terrors of life, to escape through vicarious encounters with celebrity, to visions of charity and hope, to hard resolve, to redemption and moral renovation.
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Every 'Oprah Winfrey Show' has about it the aura of Oprah's own life, just as the rituals and sacraments of a religion are suffused with the life of the religion's founder. Above the testimony of Oprah's guests hovers what viewers know about Oprah's experience.
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'Hotel Rwanda' is an American product, not a Rwandan one, made primarily for American audiences.
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It became inevitable that television would address life's mundane problems because television itself is so mundane, part of the ordinary flow of time the way those problems are.
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Television has to reflect back to you your own sense of security. It also has to mirror your sense of your own decency and your own limitations.
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The terrorist threat is so cloudy, faceless, and vague, so manipulable by political purposes, so definitely present but indefinitely manifested, that it sometimes feels interchangeable with everyday dread itself.
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