Mitchell Hurwitz produced Arrested Development, a successful Fox sitcom that aired on cable from 2003 to 2006. Despite the fact that reviewers and audiences loved the program, it was to attract the necessary fan base for Fox to keep it on the air (Matrix 119).
Seven years later, Netflix made a bold and potentially risky business decision by launching a new season featuring the original cast of the previously cancelled program. Since some of the characters were busy with different tasks. It was impossible to get them all back together at first. As a result, according to Entertainment Weekly. The creators agreed to develop and shoot more personalised scenes for the fifteen-episode season (Snierson).
The show's artistic side was put to the test when producers dismissed the standard "22-minute" episode that was needed in the cable due to allotted commercial time. This encouraged them to film the episodes for as long as they needed to get the point and plot through to the audience.
As Sidneyeve claims in her peer-reviewed essay "The Netflix Effect." This may have been upsetting to the average TV audience ten years ago (Matrix 122). By engaging the audiences with several relevant examples, Arrested Development claims that racial discrimination, which goes against conventional conservative ideals, has a negative impact on cultures and people, all while using legal, factual, and emotional appeal to further strengthen this case.
The subheading of Mitchell Hurwitz's episode, "The Premature Independence," directly addresses his audience. Hurwitz's statement is intended to persuade those conservatives who are undecided about this matter. As well as anyone else with a culturally, politically, or economically-driven interest in racial problems involving police brutality in the United States.
Hurwitz does an excellent job at weaving ideologies from both sides of the debate into his case, having an open mind to opposing viewpoints. "73 per cent of those arrested and checked on a stretch of Interstate 95 were blacks. But police confirmed that similar numbers of blacks and whites were searched," he said, citing a post (Matrix 119).
This is a dilemma that cannot be overlooked and must be addressed. He backed up his claim by citing Cole and Lamberth's findings that "25 per cent of whites, 13 per cent of blacks, and just 5% of Latinos yield contraband drugs." He claims that, despite the fact that black people are less likely to possess illegal drugs, police also harass them.
Throughout the film, he is firm in his assertion that "the acceptance of racial profiling" is "contradictory" to many conservative ideologies. In the fact that addressing racial profiling as a political topic is critical. Hurwitz seriously restricts his audience by politicising the problem. While many viewers will also be involved, as previously discussed.
Making politics such a crucial part of the debate has both positive and negative consequences for the overall argument. Politicising the debate lets Hurwitz gain popularity by allowing him to distinguish between opposing conservative philosophies. But it also limits his audience.
The general interpretation of the topic being explored is dependent on how Arrested Development is organised.
Since racial discrimination is such a nuanced and contentious issue in our culture, Hurwitz chooses to illustrate it by illustrations. This essay may seem simplistic and unfocused to a casual audience, despite the fact that this form of argument formation is very efficient. The format of Hurwitz's paper is lacking, despite the fact that he has a rather effective point.
He begins with a fascinating case yet neglects to interface the subject to the specific situation. Hurwitz decides to focus on this political feeling in his contention. Notwithstanding the fact that his use of conservative philosophies has little organisational gain. Hurwitz also proceeds to list several references without adequately connecting them until the conclusion of his case. At which time it is past the point of no return for a fledgling crowd to comprehend the subject material on the principal watching.
Hurwitz's reasoning relies heavily on the factual and spiritual appeal to persuade the audience. He also speaks to the audience's emotions, but it is less powerful than his ethos and logos appeals. Hurwitz can demonstrate the implications of racial profiling to his audiences by using a variety of recent cases. "Officers came, hurled our students against the wall, and checked them," he says in his first example.
Hurwitz uses the case of the schoolchildren to make the audiences feel guilty for the girls by providing compelling evidence that the police are profiling or targeting minorities. Hurwitz's statement has strong political overtones. And he also mentions in the subheading "The moderate body of evidence against racial profiling." He requests a more extensive crowd by underscoring this foundation. He utilises this political perspective to reinforce his contention.
As individuals are bound to concur on an issue if both ideological groups support it (Matrix 130). Hurwitz increases the credibility of his already persuasive argument by demonstrating why conservatives in America should oppose racial profiling by exposing the flaw in conservative philosophy. Returning to Hurwitz's film's factual and emotional appeal, he references several of the hundreds if not a large number of all-around chronicled anecdotes of ethnic networks. Most particularly African Americans, being profiled by cops and in this manner took care of outlandishly.
The author elicits sympathy from the audience and invites them to draw the obvious inference that racial discrimination is an issue in the US. However, using anecdotes as evidence exposes his claim of prejudice. Emotional appeal, while not being as popular as ethical or moral appeal, is also persuasive. Hurwitz uses many stories and personal encounters in his show. And the ones he decides to expand on have a significant emotional impact on the audience.
The author begins by informing the audiences about the Maya Angelou police case and moves on to other forms of racial discrimination. Hurwitz then goes on to discuss Erroll McDonald, Pantheon Publishing's VP and leader editorial manager. Erroll McDonald was pulled over in a pleasant vehicle "to demonstrate cause that he shouldn't be viewed as an irksome Negro in a taken vehicle." Then following a dark cop who was beaten by his white colleagues when they mistook him for an "African American suspect."
Hurwitz's descriptions of these serious instances of racial discrimination are all intended to instil indignation in the audiences. Aimed at the concept of racial profiling and those who support it.
Matrix, Sidneyeve. "The Netflix Effect: Teens, Binge Watching, and On-demand Digital Media Trends." Jeunesse: Young People, Texts, Cultures, vol. 6, no. 1, 2014, p. 119+
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