On the day of the shooting incident, in front of the TCL Chinese Theatre, three people were killed, including the man in the red baseball cap. The impact and grief caused by their deaths were much stronger than the injuries suffered by others. The man in the red cap was a loner, not causing much trouble, but the families of the other two victims never ceased their efforts.
Especially with the support of the church.
Following Archbishop Marquez Costello's TV interview, the numerous family members of the two victims held a press conference with the support of the Southern California Diocese of the Catholic Church.
They were the direct victims and garnered the most sympathy from the media. Often, sympathy is a powerful force.
These individuals, standing from the victims' perspective, strongly demanded that relevant government departments and 20th Century Fox pull "Dark City" from theaters and called for society to pay attention to the dangers of film violence.
"Words cannot describe our pain. As direct victims of Hollywood film violence, we call on society to address the increasingly violent trend in Hollywood movies."
The most theatrical among them, in front of numerous reporters and cameras, recited a prepared statement from the Catholic Church with immense sorrow. "Before us, there have been many victims. We hope to be the last victims of Hollywood film violence! We hope someone will stand up to restrict the violence and other excessive content in Hollywood films!"
Soon, their appeals and demands were spread nationwide by the media.
But that wasn't the end of it.
Archbishop Costello had prepared thoroughly. Subsequently, CBS exposed a joint letter. Many victims from past cases, such as the "Matrix" shooting, collectively sent a letter to Washington authorities. They urged the government and social organizations to curb the violent trend in Hollywood films to prevent more victims.
In this country, civilian social organizations are not mere decorations. They often possess strong organizational and mobilizing capabilities. Many of these organizations like to intervene in hot issues to assert their presence, such as environmental protection groups and social security organizations.
After the joint letter was exposed, numerous social organizations, spurred by religious forces, took to the streets in Los Angeles, Washington, and New York. They protested against the violence in Hollywood films and called for societal forces to unite in regulating Hollywood films, establishing a more effective censorship system.
"Hollywood's self-censorship system is flawed."
Many leaders of Catholic civilian organizations stepped forward. "We must help Hollywood films overcome the current difficulties."
No one anticipated the Catholic Church would launch such a massive media offensive, especially since the victims' statements were irrefutable. The fact that their loved ones had died due to Hollywood films was undeniable.
Outside Wave Manor, the gathering crowd was no longer just media reporters. Numerous protesters swarmed in, particularly from Catholic organizations in Los Angeles, carrying banners with slogans like "Liar," "Murderer," and "Blasphemer" to Murphy's doorstep.
It was no exaggeration to say that the Catholic Church had orchestrated a well-planned offensive aimed directly at Hollywood.
Murphy saw clearly that the Catholic Church aimed to restore its mid-20th-century glory by asserting its influence over Hollywood. Given the current global situation of the Catholic Church, such actions also aligned with its overall developmental needs.
He and "Dark City" were the primary targets of this media offensive and could be overwhelmed at any time.
But Murphy was never one to take a hit without hitting back. As Gal Gadot put it, he was the kind of guy who would retaliate tenfold.
"We're taking a two-pronged approach!"
During a meeting with Kara Faith, Murphy explained, "First, defense, primarily handled by me. Second, offense, led by Fox's media outlets."
After discussing some details with Kara Faith, Murphy simultaneously updated his Twitter and Facebook, directly responding to Archbishop Costello's TV interview.
Twitter and Facebook were platforms where Murphy could speak freely without worrying about media distortions. With over 50 million followers across both platforms, he didn't have to worry about his message going unnoticed.
"Hollywood films have been demonized as murderous villains..."
Murphy made sure not to isolate himself, implicating all of Hollywood films for his benefit. "But is this really the case?"
After a brief rebuttal, he proceeded with a well-reasoned argument.
"Remember in 'Black Mirror,' the criminal's demand to the Prime Minister? He kidnapped the British princess to force a global broadcast of the Prime Minister engaging in bestiality. This absurd story largely illustrates: the malicious actions of some individuals, amplified by sensationalism, lead to extreme public reactions and attention-seeking crimes."
"Standalone films are not responsible, but under the catalyst of mass media and social issues, films—or rather, the texts within films—inevitably become scapegoats in these tragedies..."
Archbishop Costello had identified three major evils in Hollywood films, a tactic that indiscriminately targeted the entire industry. This, in a way, was advantageous for Murphy and "Dark City," as it ensured that Hollywood's major studios would stand together, united in their opposition to such views.
When someone attempts to infringe on Hollywood's collective interests, the major Hollywood groups naturally form an alliance.
Murphy's Twitter and Facebook posts were a defensive maneuver.
"Movies don't kill; we love movies and the worlds they create. Films, in their unique way, offer profound experiences. As long as we stand together against these foolish and extreme statements, acts of violence won't undermine people's love and faith, nor will they destroy cinema and art."
Like Archbishop Costello, Murphy backed his statements with facts and logical reasoning.
"Firstly, films don't kill. Human violence predates the history of cinema by far. Films occupy an ambiguous position in this spectrum. Holding films accountable for crimes feels a lot like scapegoating."
"In fact, there's little evidence suggesting that on-screen violence directly influences behavior. Richard Walter once said that when a violent film hits the market, social violence tends to decrease. What are cinemas? They're emotional stadiums. Just as we can experience physical conflict in sports arenas, we can experience mental conflicts in cinemas. What's wrong with that?"
"Secondly, violence comes from within people. Saying 'Dark City' and the magician incited tragedy is an exaggeration. 'Dark City' critiques violence, while the criminal saw crime and killing. Different minds extract different things from films. It's individuals who, step by step, place themselves in the role of the criminal."
"Films merely reflect or artistically process the social state. Even if they were pristine, rejecting all violence, immorality, and evil, people would still learn about violence and crime from various sources. In reality, the true source of violence in people's hearts stems from life's imbalances, pressures, and educational issues."
"Finally, these tragedies reflect the problems of the entire era."
"After these tragedies, countless fans stood up to support Hollywood films, declaring their love for the worlds films create. 'Dark City' and other films' undeserved plight show that the magician's real-life tragedy is a product of this era."
Murphy's tweets and Facebook posts were widely shared by numerous media outlets. Related media under major Hollywood companies also supported Murphy and rebutted the Archbishop.
"Murphy Stanton's 'Dark City' presents criminals as symbols of anti-civilization and anti-establishment frenzy, devoid of self-interest and demands, representing extreme individuality. The magician's madness, setting the city ablaze, isn't about state, military, or political war, but about personal, intense, primal rebellion, questioning order and authority while embodying fear and anxiety."
"When the sequel to 'The Matrix' premiered, the intentions of the perpetrator are now unclear. At 29, he still spits at prison guards and acts insane to learn about the series' conclusion. His disdain for his crime and life reflects the era's criminal temperament. Film and culture mirror this notoriety. With the U.S. government also discussing gun laws, why should cinema alone bear the blame and responsibility? This world's every reality, law, education, and injustice is intertwined with these tragedies."
Facing societal doubts, Hollywood not only defended but also adopted a humble stance, firmly refusing to change.
This meant that Hollywood would continue to produce whatever genre proved most profitable. Though there might be some temporary content restrictions, the overarching goal would remain maximizing profits.
Of course, these defenses were just that—defenses. To truly make the opposition back down, an offensive was necessary.
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