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February 4, 2013


Lets talk bodies.

Take a look at Charlie Sheen’s body now on the TV series Anger Management, and understand why the body of Ashton Kutcher is the most important human body back on Two and a Half Men.

Charlie got old, baby, and his body would have been a constant subliminal contradiction to the concept in your mind of him as the eternal bachelor, which is essential to the ever on going literary plot mechanism of the show, THM.

And it is clear that the producer and writers were not ready to give that up by radically changing the parameters and structure of the show.

That’s how important bodies are in anything visual, in film, on the news and even in pictorial art-and even, most importantly, in your mechanisms of visual perception.

But by old I simply mean a loss of vital muscular tension and a few wrinkles that communicate just this, the inevitable physiological decline of biological organisms, even if you spend 3 hours a day in a gym.

Can Charlie still have sex?

Oh yeah, but he cannot carry any longer, as the human, physical bearer that he was, of the dichotomies of meaning that the program writers set up in opposition to each another through the material of human vitality itself that they so shrewdly and intelligently set loose to play out before you as a TV viewer.

So, lets begin a few inferences:

Would the producers and writes have been able to foresee this problem of Charlie’s body being at the wrong end of middle age?

Quite obviously.

If this is true, would they have actually negotiated with him, as was ceaselessly reported a few years back, some kind of contract question or dispute between Charlie Sheen’s body’s agent and the producers?

That certainly does not seem logical, don’t you agree?

Why then, would the producers and Charlie Sheen’s body’s agent allow themselves to be portrayed in just this way by the American, and to some degree, World public?

Could it have been a concerted effort by both parties to shrewdly take advantage of a prime and juicy publicity opportunity, to both re-energize public perception of the program and as a way of also allowing Charlie’s body’s agent to also benefit economically in a most serious way, as well?

Obviously, if the program writers are good enough to do what they do in the program itself, they could have easily come up with what seems to me to have been a most clever example of public psychological manipulation through the power of literature or a story.

And they went ahead and staged it just in the way you probably remember, in what was, we must admit, a most brilliant way.

But that still doesn’t mean it was morally correct, even though it was-probably-legal.

But it still was a kind of semiotic and psychological fraud of the public.

And Charlie got his goodbye “bad ass”, stand up tour, in exchange for lending himself to the scheme, compensation which you understand probably as a couple of million dollars.

And it was exactly that that most impressed you, just as the show writers were counting on.

But not me, you know what I’m sayin’?

“Winner, winner, chicken dinner”


“Criss cross, apple sauce”!

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