My recent post titled Send In the Clowns! reminded me of the basic principles of Show Trial Design Theory and Practice as developed by the most celebrated practitioners of the art in the last century.
There are two major schools of Show Trial Design Theory and Practice.
One is script centered and reached its greatest development and achievements in the late great Soviet Union.
The other is action centered and continues to demonstrate splendoriferous growth, both in quality and quantity, particularly in the United States of America, particularly in California.
Some might ascribe the better track record of action centered design to the innate superiority of the political ideology that nurtured it.
But the better informed have studied the application of the advanced knowledge of the effects of the dominant media on the general culture as developed by Marshall McLuhan and realize that it is the technological advancements of the animated media that have led to the increasing dominance of live (or pseudo-live) action over the mere written word.
Script centered Show Trial Theory and Practice hold that the script is inviolate.
Unless, of course, modified by the Director or an official specifically given specific license by the Director.
The central goal of action centered Show Trial Theory and Practice is the maximization of bizarreness.
To this end, the casting manager is directed to find the most bizarre victims, alledged perpetrators, witnesses, barristers, jurors, and judges available.
And all involved in show trial production should be fully aware that these ingredients, like the ingredients of 007's martinis, are to be shaken, not stirred.
Signs of reaching the highest pinnacle of Show Trial Design success are varied.
But if the activities of the judge directly inspire a dance troupe that is a smash hit on its first appearance on network television, Everest has been conquered.
