Public opinion could never fully align against Murphy. Hollywood had evolved into a shared interest community dominated by six major companies. The Catholic Church's attempt to reintroduce moral censorship akin to that of the last century did not align with the interests of this community. This was a significant reason why many media outlets defended Murphy and shifted the blame during the attacks against him.
However, Hollywood's web of interests and complex relationships meant that while Murphy had many friends, he also had many who disliked him. Many saw the current situation as an opportunity to take him down.
Especially considering how "Dark City" seemed cursed, with various accidents happening frequently.
In late July, during a weekend screening of "Dark City" in a large theater in Guadalajara, Mexico, a fire broke out. Thanks to the timely arrival of firefighters, more than 800 viewers were evacuated safely, and fortunately, no casualties were reported.
But that wasn't the end of it.
Later that afternoon, the Los Angeles police confirmed they had arrested a man carrying firearms and knives at a theater. A large cache of weapons and ammunition was found at his residence.
According to the LAPD, they were alerted by a theater manager about the suspicious man. Upon investigation, they found a Glock pistol loaded with bullets, two high-capacity magazines, and four knives in his military bag.
This incident once again put "Dark City" in the spotlight.
Robert's lawyer relayed that the LAPD reviewed the man's background. Based on comments and images he posted on social media, they determined he was an ardent Murphy fan. That evening, they considered him the prime suspect in the TCL Chinese Theatre shooting and the park murder case.
Even though the man vehemently denied any involvement.
"He has no alibi," Bill Rossi said over the phone to Murphy. "During the TCL Chinese Theatre shooting, he claimed he was home alone. The police found a large number of colorful magic balls and magician posters in his house, some marked with red 'X's."
With the suspect caught, Murphy felt somewhat relieved. If the deranged imitator of the magician continued his rampage, Hollywood might actually face intervention from external forces under the immense social and religious pressure.
However, the incident's exposure reignited intense media discussions about Hollywood films.
Driven by various agendas, the media once again debated whether films should be held accountable for inciting violence. As Robert Downey Jr. had mentioned earlier, this wasn't the first time someone committed a crime inspired by a movie. There were instances of criminals imitating "The Italian Job," John Hinckley Jr.'s assassination attempt on Reagan for Jodie Foster, and the cult following of "Natural Born Killers."
Now, the tragedies had escalated from simple murder, assault, and bombings to creating public chaos and challenging social order. The anti-civilization, anarchistic tendencies were becoming evident. Under Hollywood's spectacular display of violence, mimicking on-screen violence was becoming a norm. Therefore, were all the narrative elements—media, dissemination, audience, and epistemology—culpable?
The most heated debate was whether movies should be held responsible for violent crimes.
"In modern mass communication, violence is often entertainment, widespread, and aestheticized. Despite the lack of evidence linking on-screen violence to violent tendencies," stated Michael Verner, a renowned psychiatrist, in an interview. "But it is certain that someone prepared to commit a crime might be influenced by a film, pushing their criminal emotions to the brink, leading to violent acts."
Not only experts but also some Hollywood insiders who had past conflicts with Murphy spoke out.
Harvey Weinstein, in an interview, sternly said: "Filmmakers should review the impact of violence in Hollywood films and the role Murphy Stanton has played in it."
Famous actor Leonardo DiCaprio supported this view: "Our current movies are surrounded by blood and violence. Hollywood and directors like Murphy Stanton should take responsibility."
Conversely, many defended Murphy. Jessica Alba, who had collaborated with Murphy several times, called "Dark City" an innocent film caught in a tragic coincidence.
Oscar-winning actress Charlize Theron, in an interview, also mentioned: "Don't blame Murphy and his film. Criminals always find something to justify their twisted actions."
Some psychologists also defended Murphy: "The idea that a young person would kill just because they saw a violent film is unfounded. There must have been something in their life pushing them to crime. We just don't know what yet."
So, should films be held responsible for violent crimes? This is an incredibly complex social issue. The aesthetics of violence are often intertwined with creativity, style, and excitement.
This difficult question, this unbalanced situation, is like all paradoxes in the world—impossible to conclude definitively.
Some took a more balanced view.
For example, when asked by a reporter about his views on the matter, Steven Spielberg said, "I can only say that movies are an artistic presentation and reflection of the human mind. Many directors use villains and violence to express their views of the world. There's nothing wrong with that. It even carries dual reflections: 'Dark City's' magician resonates with people because of his insane critique of society, justice, systems, and the broader environment, reflecting the era's discontent and anxiety. Hence, the insistence on justice and the protection of life by characters like Chris D'Anna is even more valuable. This dual message is conveyed by the film. While some might wish to be the destructive and doubtful magician, many more aspire to be true heroes."
The New York Times issued a special edition discussing this topic with the seriousness of significant political news.
"Usually, only after tragic events and the death of innocent civilians do the most important actions to safeguard civilization occur. The real heroes are neither police nor politicians, nor fictional movie characters, but ordinary people."
"Whether it's in Columbine, Manhattan's Lower East Side, Colorado's Aurora, or post-flood New Orleans, it's ordinary people helping each other through the valley of death's shadow. Outside the screen, before the tragedy, they ensure that the magician and the murderer can only achieve temporary victories. This is the most important message conveyed by this popular film, this violent incident, and this major tragedy."
Inside Wave Manor, Murphy put down the Los Angeles Times and asked Gal Gadot, who was sipping tea across from him, "What did Bill say on the phone just now?"
"Some latest news about the suspect caught by the LAPD," Gal Gadot replied, putting down her teacup. "The suspect claims he was terrified by the TCL Chinese Theatre shooting, fearing someone might commit a copycat crime at a nearby theater. But he really wanted to see a movie. So, he made a tough decision to bring a Glock and several knives to the theater, just in case."
She shrugged. "Then he got arrested. Being a loner, he can't find any alibi witnesses."
"Is he the killer?" Murphy frowned. "It doesn't seem likely."
"Feelings?" Gal Gadot shook her head. "You're not a cop and haven't been involved in the investigation. Feelings are unreliable."
"Right." Murphy nodded. "I hope he's the killer."
If the real killer was still out there, they could continue their rampage, increasing the pressure on Murphy and "Dark City."
While he wasn't afraid of pressure, no one wanted to be at the center of a media storm.
As it stood, the North American box office for "Dark City" had been significantly impacted. Since surpassing the $700 million mark, daily gains had been minimal.
"This afternoon, we'll meet with Kara," Murphy said, standing up. "The box office is what it is. Let's discuss the awards season."
Meanwhile, CBS reporters arrived at a small office building in Santa Monica Beach. A producer, with the help of church staff, directed crew members to set up equipment for a live broadcast in a large conference room.
Tonight, Archbishop Marquez Costello of the Southern California Diocese was scheduled for a TV interview.
For any TV station, this was significant news.
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