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The Fight response closely relates to the idea of being 'in the arena' facing fears. In many types of Martial Arts fights, the idea of being in the arena takes on a literal sense. We could also show this literal interpretation in our performance by depicting a fight as a form of confrontation.

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We also see fighting occur naturalistically. Many of the fear responses humans have, are similar to that of animals, as these are primal and biological defence mechanisms. Animals, when confronted with fear or conflict, can often resort to fighting. This parallel between humans and animals shows an interesting link we could use in our ensemble to show the universality of fear.

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How To Control Fear During Fight (and before) - Dont Freeze Up, Calm Down - Mental Tips For Fighting

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Flight can often look like trying to avoid conflict or fighting by running away or escaping the scene. In our performance, this can be shown through someone creating a diversion of escaping a fearful scenario in an attempt to leave unharmed.

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When a person is frozen of paralysed with fear, they tend to curl up into a ball or in fetal-position. This form of self-protection, self-soothing, and infantilisation often leaves us vulnerable, as due to our fear we are defenceless and frozen, unprepared to retaliate. In our performance, we can physically show the process of freeze responses through compressing ourselves and using our body language to show how the fear has frozen us with shock.

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Deer in the headlights is a prevalent motif when you investigate the freeze response. This could be used a symbol in the ensemble for when someone feels paralysed with fear.

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Facing one's fears often involves confronting and combatting them. This can often lead them to being conquered or the realisation that they weren't impossible. Facing one's fears can be a personal journey or a mental barrier. For a character, this could look like someone recognising a challenge as being a source of fear, but facing it and defeating it head on.

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When I feel fear, my body instantly reacts, my heart starts pounding fast, like a drum in my chest, and my breath quickens, sharp and shallow. My eyes widen, pupils stretching to take in everything around me. I tense up, muscles tightening as if ready to run or fight. Sweat begins to bead on my skin, cooling me down even as adrenaline floods through me. Sometimes, if the fear is too overwhelming, I freeze, my body going numb, my mind feeling distant, like I’m watching myself from far away. Then, as the danger fades, I slowly begin to calm down. My heartbeat slows, my breathing deepens and steadies, and my body softens, releasing all the tension. I let my shoulders drop, my muscles relax, and I feel grounded again, ready to move on once more.

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﻿Q2: Research the cliche "rabbit / deer in the headlights"

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﻿Q2: Research the cliche "rabbit / deer in the headlights"

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The cliché "rabbit/deer in the headlights" originates from real animal behaviour, particularly that of rabbits and deer when suddenly exposed to bright headlights at night. These animals often freeze due to their eyes being adapted for low light, causing temporary blindness and disorientation when exposed to intense light. This freeze response is an instinctive survival tactic; by staying motionless, the animal hopes to go unnoticed by predators. The phrase became popular in American slang in the mid-20th century and has since been widely used to describe human reactions to fear or shock.

The meaning of the cliché is to describe a state of being paralysed by fear, shock, or confusion, making someone unable to move or make decisions. It reflects the freeze response that can occur in stressful situations—when a person feels overwhelmed or caught off guard, they may stop all actions or speech abruptly. The phrase often implies a sense of helplessness or vulnerability, highlighting how fear can cause hesitation or immobilisation at critical moments. In everyday language, it is used to explain why someone might be speechless or unable to act when unexpectedly confronted.

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Q2: Find 2 examples of this idiom being used in the media at the moment. 

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Q2: Find 2 examples of this idiom being used in the media at the moment. 

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Sarah Michelle Gellar's Red Carpet Reaction:
During the premiere of her new series "Dexter: Original Sin" in December 2024, actress Sarah Michelle Gellar was asked about Jennifer Love Hewitt's involvement in the upcoming "I Know What You Did Last Summer" reboot. Gellar appeared momentarily stunned, leading to fan speculation about tension between the former co-stars. She later clarified on Instagram that her "deer-in-the-headlights" expression was due to concerns over violating a non-disclosure agreement, as she had previously shared an unapproved image.

Ensemble Task Relevance: Gellar's reaction exemplifies the "freeze" response to an unexpected situation. Her momentary inability to respond highlights how individuals can become immobilised when caught off-guard, aligning with the "freeze" aspect of the "fight, flight, freeze, or face" responses to fear. In the ensemble we could show a celebrity freezing under the limelight or pressure.

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Sarah Michelle Gellar is clearing the air over a viral red carpet moment about former costar Jennifer Love Hewitt.

While at the New York City premiere of her new series Dexter: Original Sin on Wednesday, Dec. 11, Gellar, 47, was asked by Extra if she knew whether Hewitt, 45, was returning for the new I Know What You Did Last Summer reboot movie.

At first lost for words, Gellar said simply, "I have nothing to do with that," before stepping away from the interview with a smile.

Some fans took Gellar's response to be a shady moment, dredging up past rumors of an on-set feud between the costars of the original 1997 slasher movie.

On her Instagram Stories Friday, Dec. 13, though, Gellar explained that she didn't want to speak out of turn with non-disclosure agreements about the upcoming project.

"Aspiring actors please note: this deer in the headlights reaction is perfect for when you are excited to see so many old friends in one project but have already stupidly forgotten what NDA means once this month," she wrote.

That's a reference to the behind-the-scenes photo Gellar recently shared on Instagram, showing a chair on the set of I Know What You Did Last Summer as she visited husband Freddie Prinze Jr., who is reprising his role.

"I found out that they hadn't posted any pictures from the set yet, hadn't announced they started filming. Yeah ... that was an 'Oops! My bad!' " she shared on Live with Kelly and Mark, adding, "I got in a little bit of trouble."

Hewitt eventually confirmed her return for the reboot on Dec. 13, sharing a message on Instagram, which Gellar also posted on her own Instagram Stories.

Wrote Hewitt alongside a new photo, "It's never too late to go back. Julie James is returning. I know what you will be doing next summer!"

Never miss a story - sign up for PEOPLE's free daily newsletter to stay up-to-date on the best of what PEOPLE has to offer​​, from celebrity news to compelling human interest stories.

According to The Hollywood Reporter, Hewitt addressed past claims of a feud with Gellar - and whether she demanded Gellar's character be killed off - while on a recent episode of the I've Never Said This Before with Tommy DiDario podcast.

"I was 18. They were not taking script notes from me. All of us were in that experience together, you know, figuring it all out and everything. And I root for her and Freddie," she said. "I think it's the cutest thing in the world that they've been married for 100 years and have kids. It's, like, adorable. So it's just been really funny to see all of this stuff."

I Know What You Did Last Summer is in theaters summer 2025.

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Sarah Michelle Gellar Sets the Record Straight on That Viral Jennifer Love Hewitt Moment

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Sarah Michelle Gellar set the record straight after fans online thought she was being shady to former costar Jennifer Love Hewitt during a red carpet interview.

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Beyoncé's Reaction at the 2025 Grammys  At the 2025 Grammy Awards, Beyoncé was announced as the winner of Best Country Album for her work on "Cowboy Carter." When Taylor Swift called her name, Beyoncé appeared momentarily stunned, exhibiting a "deer in the headlights" expression. Body language expert Darren Stanton analysed her reaction, describing it as genuine shock and disbelief. This unexpected win marked a historic moment, making Beyoncé the first Black woman to receive this award.

Ensemble Task Relevance: Beyoncé's reaction exemplifies the "freeze" response to an unexpected and overwhelming situation. Her momentary immobility upon hearing her name reflects how individuals can become temporarily paralysed when confronted with an unforeseen event. This instance provides a contemporary example of the "deer in the headlights" phenomenon, illustrating how even seasoned performers can experience the freeze response in surprising situations. In our performance we can physically show someone being paralysed with fear, just as Beyoncé, her wide eyes, shocked expression and defensive body language show she was caught off guard.

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Q3: Research the notion of fear. Find 2 examples of people confronting their fears in either a newspaper article, a song, a film, a poem or piece of artwork.

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Q3: Research the notion of fear. Find 2 examples of people confronting their fears in either a newspaper article, a song, a film, a poem or piece of artwork.

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Fight Or Flight?

What am I afraid of? What frightens me most?
Devils? Angel of death? Sharks?
Or natural disasters? Plagues or cancer?
The fear felt in Pompeii before the lava killed everyone,
Ogres, they are fearful,
Nephilims? Men's hearts stop at the sight of them,
Those that cause others to fall down,
Adam and Eve's fear of God after the stupid cow ate the apple,
Man is destined to this primeval instinct, fear,
Irrigating him, following him like a persistent shadow,
Fear of suicide bombers too lazy to fight a real fight,
They just blow themselves up quick and easy!
Fear of bombs, snipers, mines,
Jews in concentration camps were frightened to death,
When learned they couldn’t take a shower with gas in gas chambers!
Palestinian kids saw grenades were not toys to play with,
Flight of fight?
Flight of fight?
Stay or flee?
Phobias are DNAs, our blood and sinews,
Claustrophobia, xenophobia, homophobia, acrophobia, aerophobia,
Yes, phobia, phobia, phobia,
Fear of future, fear of God, fear of hell, burning like a dirty rat out of godly anger,
Or fear of women! Misogyny,
A Medusa, a woman with heart of poison,
Eyes of acid, lips of venom, hair of lies,
A mind made of jealousy and hands of deception,
Or fear of men, misandry,
A man fearful as hell,
His brain made of semen,
His heart a nest of lust, harem for wives,
Incubus, he rolls on women lying on their back or face in a line!
He lies on sleeping women causing wake dreams or sleep paralysis,
His hands tools of rape and violence,
A masculine macho daemon,
Flight of fight?
We are all wandering in a dark forest of fear,
Through the trees and cross the bushes,
Just to go from one point to another, like a drunk bewildered idiot,
Bumping into each other, or act with threat and menace,
Planting trees of fright, reaping fruit of satisfaction!
Some once asked me: would you rather be feared or loved?
I can tell you one thing brother, sister,
Fear could be a warning, a fear of our legacy!
What’s our legacy on this earth? What the hell have we done?
What the dickens have we left for others?
Flight of fight?
Flight of fight?
Flight of fight?
Flight of fight?
Just tell you this:
A woman who has lost her kid fears nothing, nothing,
Nothing worse to happen, yes, friend,
Truthfulness is gold, tell the truth with no fear,
Truth is immune to fear, express it even under swords,
Truth roots out all fear, shout it even if stoned,
Truth smashes all fear, expose it even if electrocuted,
Honesty eradicates fear, stick to it even in dungeons,
Reality shatters fear, be real, genuine, yourself,
Courage crushes fear, courageous people know no danger,
Fear not, bravery is your asset, cowardice is fools’ anthem,
Listen friend,
You can harness fear, render it meek and tame,
You can joyfully ride on fear,
you can firmly float on waves of fear heading for excitement and happiness!
Flight of fight? ......

Ali Rahimi

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Q4/7: List 3 social change campaigns/movements & their hashtags. 7. What is the #BlackLivesMatter, #Me Too, and #FridaysForFuture movement. Find 3 key moments/ 3 brave people/ 3 strong interviews, 3 tweets/ 3 clips that are connected to this movement.

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Q4/7: List 3 social change campaigns/movements & their hashtags. 7. What is the #BlackLivesMatter, #Me Too, and #FridaysForFuture movement. Find 3 key moments/ 3 brave people/ 3 strong interviews, 3 tweets/ 3 clips that are connected to this movement.

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#MeToo Movement

Origin: Started in 2006 by activist Tarana Burke to support survivors of sexual violence, the #MeToo movement gained global traction in 2017 when actress Alyssa Milano used the hashtag following accusations against Hollywood producer Harvey Weinstein.

Purpose: Aims to raise awareness about the prevalence of sexual harassment and assault, empower survivors to share their stories, and demand accountability for perpetrators.

Impact: Sparked widespread conversations about consent, workplace safety, and power dynamics. Led to high-profile resignations and policy changes in industries worldwide, as well as increased legislative actions focused on protecting victims of sexual misconduct.

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#FridaysForFuture

Origin: Initiated by Swedish climate activist Greta Thunberg in 2018, who began striking from school every Friday to protest inaction on climate change.

Purpose: Focuses on urging governments to take immediate and concrete actions to address climate change based on scientific evidence. Advocates for the reduction of carbon emissions and adherence to the Paris Agreement targets.

Impact: Mobilised millions of young people globally through climate strikes and protests. Played a significant role in shifting public discourse and pushing for climate policies and commitments from governments and corporations.

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#PussyhatProject

Origin:

Started in 2016, the Pussyhat Project was created by Krista Suh and Jayna Zweiman, two women in Los Angeles.

It began as a response to Donald Trump's election and his infamous comments about grabbing women “by the pussy.”

The idea was for people (especially women) to knit and wear pink cat-eared hats to the Women’s March on Washington on January 21, 2017, the day after Trump’s inauguration.

Purpose:

To create a bold visual statement of solidarity and protest against sexism, misogyny, and the erosion of women’s rights.

The pink colour and cat ears reappropriated Trump’s derogatory comment, turning it into a symbol of resistance and empowerment.

It gave people a visible identity at marches and protests, making them impossible to ignore.

It was also about craftivism: using traditionally feminine crafts (like knitting) in a powerful political way.

Impact:

Over 1 million hats were reportedly made and worn at marches across the U.S. and internationally.

The hat became an iconic symbol of the 2017 Women’s March, one of the largest protests in U.S. history.

Sparked nationwide and global conversations about:

Sexual harassment and assault

Gender inequality

Bodily autonomy and reproductive rights.

Helped unite diverse activist causes under a shared visual identity.

It was also critiqued for not always being inclusive (e.g., pink not representing all genders or races equally), leading to deeper intersectional awareness in feminist activism.

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﻿Q6: Look up the arts festival "We are all going to Die"

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﻿Q6: Look up the arts festival "We are all going to Die"

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​"We're All Going To Die" is a multimedia art project founded by Australian director Stefan Hunt in 2017. The initiative aims to use the concept of death as a lens to encourage individuals to "fear less and live more," transforming the often-taboo subject into a catalyst for personal empowerment and community engagement.

Components of the Project:

Illustrated Book: The project began with an illustrated picture book that presents profound themes in an accessible format, prompting readers to reflect on their fears and the transient nature of life.

Short Film: Complementing the book, a short film was produced to visually explore themes of fear and death, further engaging audiences through cinematic storytelling.

Immersive Arts Festival: The project expanded into an immersive arts festival, premiering in Sydney and subsequently touring cities like Melbourne and Byron Bay, selling out in all three locations. The festival featured interactive experiences, films, talks, and performances, all designed to encourage attendees to confront their fears and embrace life more fully.

Global Reach: Beyond Australia, "We're All Going To Die" has produced art installations and events in international locations, including Auckland, Los Angeles, and Texas. These events have maintained the project's core message, adapting to diverse cultural contexts while consistently encouraging participants to reflect on their fears and mortality.

Philosophy and Impact: At its core, the project seeks to reframe the conversation around death and fear, transforming these often-avoided topics into opportunities for personal growth and community connection. By engaging with these themes through various artistic mediums, "We're All Going To Die" inspires individuals to live more authentically and courageously.

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We're All Going To Die is a multimedia art project by director Stefan Hunt. It combines film, photography, music, visual art, print and poetry to explore themes of fear and death.

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1. "Fear less, live more."

2. "We're all going to die—but first, we live."

3. "The only thing we have to fear is fear itself."

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#BlackLivesMatter

Origin: Founded in 2013 by Alicia Garza, Patrisse Cullors, and Opal Tometi following the acquittal of George Zimmerman in the shooting of Trayvon Martin. Gained massive momentum in 2020 after the murder of George Floyd.

Purpose: Aims to combat systemic racism, police brutality, and racial injustice, advocating for reforms in policing and criminal justice systems. Focuses on empowering Black communities and addressing inequalities in education, housing, and healthcare.

Impact: Led to global protests, policy proposals like defunding the police, and increased scrutiny of racial disparities. Prompted corporations, sports leagues, and political leaders to acknowledge and address issues of systemic racism

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Q10: Watch 5 YouTube clips on Physical Theatre. What do you see in these clips that you could use in your ensemble? What do you not want to forget in relation to Physical Theatre? 

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Q10: Watch 5 YouTube clips on Physical Theatre. What do you see in these clips that you could use in your ensemble? What do you not want to forget in relation to Physical Theatre? 

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Q11: Find three songs that explore the notion of facing your fears 

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Q11: Find three songs that explore the notion of facing your fears 

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1. "Come Out and Play" by Billie Eilish

This is a mid-tempo pop ballad in which Billie Eilish urges listeners to overcome their fears and embrace their talents. The lyrics encourage someone to break out of their comfort zone and share their gifts with the world.

Good Lyrics: "You don't have to keep it quiet
And I know it makes you nervous
But I promise you, it's worth it
To show 'em everything you kept inside"

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2. "Survivor" by Destiny's Child

This R&B pop song by Destiny's Child is a classic anthem of resilience and pursuing goals even in the face of adversity. The song is powerful and upbeat with a strong and clear message on facing your fears and not giving up,

Good Lyrics: “I'm a survivor, I'm not gon' give up, I'm not gon' stop, I'm gon' work harder”

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3. "Scared to live" by The Weekend

The song by The Weekend explores the fears of living, and the futility of life. It shows why it is important to confront fears and live freely.

Good Lyrics: “So don't be scared to live again

Be scared to live again

No, don't be scared to live again

Be scared to live again”

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Q14: Make a list of news reports or clips you have seen or heard that may be an example of fear-mongering.

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Q14: Make a list of news reports or clips you have seen or heard that may be an example of fear-mongering.

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news.com.au — Australia’s leading news site

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‘Fearmongering and opportunistic’: Climate Council slammed after ex-Tropical Cyclone Alfred

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Sky News host Chris Kenny discusses ex-Tropical Cyclone Alfred’s downgrade to a “storm” just before it hit Australia’s east coast and how the Climate Council responded to the catastrophe. “As for Alfred, yes, everyone prepared for the worst, and thankfully, we did not get it,” Mr Kenny said. “The tropical cyclone was downgraded to a storm before it crossed onto the land.”

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Q15: Face your fears day is an official day in the calendar. Create a short scene about how a group of people plan to mark this day.

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Q15: Face your fears day is an official day in the calendar. Create a short scene about how a group of people plan to mark this day.

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Characters:

Ash – ambitious

Jamie – reluctant

Riley – silly fears

The three stand in a triangle. To create tension, we use heavy breaths. Drumbeat sound (made vocally or through stomps)

ASH (excitedly draws a huge imaginary list in the air, slams it on the ground.)

ASH (wordlessly gestures: "Let’s GO!", beckoning motion)

JAMIE (shakes head, arms crossed, slowly sinking to the floor)

RILEY (Mimes the motion of circling a day on a calendar, before crossing it out.)

ASH (grabs JAMIE’s hand, pulls them upright. Drags RILEY forward. Marching in place, trying to encourage the other to do the same)

ASH (points to RILEY, your turn.)

RILEY (terrified expression whilst miming the actions of climbing a rock wall, lots of deep breaths and hesitation, through regardless of the fear of heights, once at the top they breath a sigh of relief)

ASH (claps. Points to JAMIE.)

JAMIE (deep breath. Mimes a microphone. Says one line:)
“Hi. I hate this.”
Freezes. Then dramatically bows. The others cheer.

ASH (nods solemnly. Slowly mimes opening a jar of spiders and letting them crawl across their face and body, remaining calm even through the terrifying scenario)

Finaly, all three link arms. Together, mime pulling fears out of their chests and throwing them to the sky—a big, slow, stylised breath out.

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Don’t let your fears hold you back. Use Face Your Fears Day to confront those things that keep you from achieving your goals, and free yourself from fear.

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Factors/techniques/parts that stood out to me:

-How actors use the stage and space through movement, useful for theatre in the round if we cover lots of space

-Actors move around at different speeds, and these speeds convey different meanings

-At times, rushed and frantic, colliding into one another with close proximity and loud footsteps

-Contrasted with stillness, slowness, circles

-Creating shapes like a circle where you all follow each other, spinning, levels bobbing up and down, walking backwards, clockwise v anti-clockwise

-Coughing as a diegetic sound,

-Touching each other while coughing, the contact shows spread

-Hugging, embracing, holding,

-Joint laughter, turned to crying, turned to anguished screaming.

-Loud to silent

-Moving all together as one whilst swaying slowly becoming violent and more energetic

-collapsing into the ground, fallinng moving slowly

-Strong emphasis on synchronised movement.

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Factors/techniques/parts that stood out to me:

-lifts/acrobatics

-direct dialogue

-movements that are reliant on each other

-dialogue continued throughout the

-movements fluid

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Fectors/techniques/parts that stood out to me:

ROUND-BY-THROUGHS:

-Round-by-throughs use proximity and closeness

-considered the “building blocks” you can work with weight, tension, struggle, closeness, proximity, contact,

-The focus is on presenting opportunities for communication

-Tense, tight, close movements vs light, flowing, freely passing.

-Finding opportunities for lifts, shifts and moves

-lifts happen to push forward the narrative. Follow this simple principle on choreography: "There are always three universes: there’s the moment before the touch, the moment of the touch, and the moment after the touch, all should be different!"

-EYE CONTACT, making intentional decisions

HYMN HANDS:

-Hymn hands involve placing hands on the trunk of the other person's body

-you can move the other person's hands or arms

-eye contact is essential, you can watch each other's movement or look away, they convey different messages.

-speed, rushed vs slow,

-the idea of “being in a relationship” tells a a story through physicality

-slow tension through watching the hand placement vs watching eye contact through intimacy

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Masterclass: Building Blocks for Devising by Frantic Assembly | National Theatre

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Q10: Xenophobia by Drama Group performance

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Q10: Xenophobia by Drama Group performance

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Factors/techniques/parts that stood out to me:

-black consumes so you can see physical movement better

-synchronised movement

-breath, speed, frantic,

-shared viewpoint

-minimal dialogue

-Slow motion for impact and tension

-Non-diegetic soundtrack as an aid,

-Diegetic sound used to make a soundscape

-singing and song

-heart racing, heavy beats, very helpful for dot point 1, recreating the body's response to fear.

-taunting isolation

-synchronised heart beats, lifting of the chest in unison

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Xenophobia - 2019 HSC Drama Group Performance (Nominated for OnStage)

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Things/factors/parts that stood out to me:

-chair as a prop

-direct dialogue

-constant movement throughout dialogue, even just through one part of the body (eg legs)

-staggered entry and synchronisation

-stylised movement and individual characterisation

-Tempo increases with movement and dialogue

-soundtrack used

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DV8 Physical Theatre | To Be Straight With You: Christian Protestor

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Q12: Credible fear and immigration, Asylum Seekers who don't have prior permission to be in the US have to pass a "credible fear" test.

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Q12: Credible fear and immigration, Asylum Seekers who don't have prior permission to be in the US have to pass a "credible fear" test.

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Questions and Answers: Credible Fear Screening | USCIS

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ALERT: Court Order on Circumvention of Lawful Pathways Final RuleOn Aug. 3, 2023,

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"Stateless," is a Netflix series produced by Cate Blanchett that explores the lives of four strangers who intersect in an Australian immigration detention centre, highlighting the human cost of Australia's immigration policies. These true events inspire the series and explore the experiences of individuals facing various challenges within the detention system.

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The Mauritanian is a film that depicts the story of Mohamedou Ould Slahi, a Mauritanian citizen who was detained at Guantanamo Bay for 14 years without charge or trial. The movie explores the themes of interrogation, legal injustice, and the human cost of the "war on terror". It highlights the abuse of power and the disregard for human rights in the aftermath of the 9/11 terrorist attacks.

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The dramatic potential in this scene could be between a mother begging for asylum at the US border. We would show this through a physical theatre scene where someone has to break past or push through someone, maybe by a round-by-through or some type of slow-motion, tense scene. The characters have to grapple with each other to show the difficult and unfair treatment of individuals seeking asylum.

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Q13: Inspiration to be taken from this video

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Q13: Inspiration to be taken from this video

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-The "in the arena" aspect, with a ring as the boundary line

-A lot of physical comedy, being thrown around, manhandled

-Repeated fails, stupidity and foolishness as a humour

-Elements of slapstick

-The physicality of rearing up for battle, the comedic stance

-Synchronised movement

-Extremely overdramatised actions

-somewhere between fighting and comically embracing

-Excessive repetitive violence

-Use of physical movement and physical comedy

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The Spanish Inquisition: Power, Faith, and Fear in Early Modern Europe

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Explore the Spanish Inquisition’s ruthless blend of authority, religious zeal, and terror that reshaped early modern Europe’s landscape.

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One of the darker moments in modern American political history was what became known as the McCarthy Era, that period in the late 1940s and early 1950s when politicians and government officials conducted a witch hunt for communist and other "subversive" elements in American life, exploiting fear of a shadowy enemy and deepening divisions both in political and everyday relationships. Senator Joseph McCarthy was often the public face of the craze and one of its most adept manipulators.

For Senator McCarthy and his allies in government and out, the imagined subversives provided the perfect scapegoats. Any focus on them distracted from the real issues facing the country, as well as the personal and political deficiencies of those who targeted them. Senator McCarthy at the time faced accusations of stolen valor, tax evasion and bribery. Among Senator McCarthy's most staunch supporters were many American Catholics. When America, under the editorship of Robert C. Hartnett, S.J., weighed in against his fear-mongering tactics, the pushback from readers was extensive and vitriolic-and pressure on the magazine's editors to turn away from the issue came from politicians and church figures alike.

Seven decades later, our political skies are darkened by new forms of demagoguery, paralleling McCarthyism in their exploitation of anxieties and fears for political advantage. Many Americans, motivated by concerns around crime, job security and changing demographics, direct their gaze toward those different from us and find in them a convenient enemy. The emblematic example is the rancor focused on migrants (and those who would help them). They have been falsely portrayed as violent criminals or noncitizen voters trying to undermine the American way of life. Donald J. Trump has said as much in statements meant to dehumanize those who come to the U.S. border seeking a better life.

To a lesser extent, we have also seen concerns over abortion exaggerated to maximize fear of enemies plotting in the shadows. Some opponents of Mr. Trump insist he intends to implement a national abortion ban (a goal he has disclaimed) without exceptions or any nuance for medical crises, conjuring up dark images of a "Handmaid's Tale" future. Again, we hear the whisper: Be afraid.

With political discourse already rife with fear-mongering, it can be difficult to find common ground to talk about even the most serious issues. Many Americans understandably reject Mr. Trump's demonstrated disdain for constitutional norms and refusal to accept his defeat in the 2020 election, about which America's editors have repeatedly warned. Yet many Americans, perhaps because the constitutional system survived Mr. Trump's chaotic attempts to undermine it and even the violence of Jan. 6, 2021, still support the former president. Those who do not should remember it is possible to sincerely oppose Mr. Trump by focusing on what is best in the American constitutional tradition rather than trying to convince everyone to see him as hell-bent on its destruction. Americans can disagree without succumbing to the temptation to depend on fear to drive home the seriousness of our concerns.

As voters prepare to go to the polls in early November, they would do well to remember the demagoguery of the McCarthy Era not as a quaint relic of the past but as a stark warning for the present. But to heed that warning properly, Americans of every political stripe should acknowledge that those who think and vote differently are not necessarily motivated solely by the rhetoric and policy goals that we most fear, whether on the left or the right. Our political system generally presents voters with a binary choice, but very little in politics or life is a binary reality. To say, "I disagree with you" is not the same as to say, "You are my enemy."

At times, confronting demagoguery also requires taking the long view. There will be more elections after November; there will be further policy initiatives and new politicians; political seasons will follow one another as they always have. Taking the long view means trusting the system in which Americans participate, and not viewing every crisis-much less every news cycle-as the brink of an abyss.

The morning after Nov. 5, your political opponents will not have disappeared. Those some might have called dishonest or un-American or un-Christian or worse will remain neighbors, coworkers, parishioners, fellow Americans. Once that is acknowledged, Americans can see how foolhardy and destructive fear-mongering and a cultivation of hatred can be for a healthy and functioning society.

There are many Americans who are afraid these days, and it is not fair to dismiss their legitimate fears about their future and the future of our nation. It is possible, however, to recognize and acknowledge those fears without taking the pernicious route of piling further fear and mistrust atop genuine concerns. St. John Paul II was fond of quoting Jesus' most frequent phrase in the Gospels: "Be not afraid." Perhaps we all need to hear that phrase more often.

The Spiritual Exercises of St. Ignatius includes a principle that America has tried to inculcate across our ministry: "the presupposition," the conviction that one should at first assume the best of another's speech, behavior or beliefs. For St. Ignatius, this principle was the key to spiritual conversation, but it is easily extended to most other areas of human relationship. It does not mean one should be a Pollyanna or a naïf: St. Ignatius knew far better than most what evil can lurk in the hearts of humanity. Instead, it is a way of proceeding that seeks to go deeper than suspicion or superficial rejection of the other in favor of honest, genuine dialogue.

What does the Ignatian presupposition look like in a political sense? First and foremost, it means we do not assume bad faith on the part of those with whom we disagree-be they politicians or fellow voters. To take others at their word requires that we see their position as one worth considering, even if we reject it; it also means we recognize the human dignity of the other from the start.

There are times, of course, when the presupposition is insufficient to establish true mutual dialogue; not all of us are acting in good faith, and not all of us are telling the truth when we advocate a particular policy or object to the behavior of a certain group. But if we presuppose good faith on the part of another and are proved wrong, it is the facts that prove us wrong. And facts, of course, are the great enemy of the demagogue. As Senator McCarthy discovered so many years ago, you can only tell a lie so many times before people realize there is no truth behind it.

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The Editors: American political life doesn't need to depend on fear-mongering

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Facts are the great enemy of the demagogue, as Senator McCarthy learned so many years ago.

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Australians mostly have little to worry about. So why do we succumb to fear? | Julianne Schultz

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Ever since federation, fearmongering has been used as a political tool – and it remains poised to be pulled out at any moment

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I Explored The Psychology Behind Fear Mongering In The Media

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Our PR intern Bridie writes a powerful blog on fear-mongering in the media and communications, and the responsibilities we have…

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Fear-mongering is the intentional act of making people afraid, even when the fear is unnecessary or unreasonable

It’s used to influence decisions by creating urgency and panic, regardless of facts

Fear-based messages are about twice as effective as non-fear messages

People are drawn to fear because of their desire for total safety, even when that’s unrealistic

Fear mongers often highlight extreme, rare examples to represent broader issues

Tribalism fuels fear-mongering by dividing people into “us” vs. “them,” often using labels and stereotypes

Fear-mongers speak for others instead of letting people speak for themselves

They invent or exaggerate threats that aren’t always real or likely

Overgeneralisation is common, making isolated incidents seem like widespread danger

They falsely blame entire groups for the actions of individuals to deepen mistrust

Emotional triggers like dramatic music and scary imagery are used to enhance fear

Political ads, like Lyndon B. Johnson’s “Daisy” ad, have famously used fear to sway voters

Mass and social media use fear to drive clicks and attention, especially around hot-button topics

Advertisers use “shockvertising” to sell products by exploiting fears (e.g. germs, car crashes)

Governments have used fear-mongering` in psychological warfare to justify extreme policies

Historical examples include the Red Scare, Japanese internment, and post-9/11 overreach in the war on terror

The article questions whether fear-mongering can ever be justified and highlights the ethical dilemma it poses

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- Be Informed - The Bottom Line On Tech, Biz Innovation, Life

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Fear Mongering Examples Exposed – Who, What, How To Detect

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Fear mongering is an intentional act to make people afraid. The questions are: does the “ends justify the means”? Here are some fear mongering examples.

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Q16: Watch Face Your Fears from My Crazy Ex-Girlfriend. 

Respond to the following prompts:

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Q16: Watch Face Your Fears from My Crazy Ex-Girlfriend. 

Respond to the following prompts:

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Face Your Fears (feat. Donna Lynne Champlin) - "Crazy Ex-Girlfriend"

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Q16: What is the Narrative, the message?

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Q16: What is the Narrative, the message?

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You have to face your fears because your fears aren’t as bad if you face

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Q16: What is the Aesthetic - The appeal (what pulls you in?), the new/different/unusual. 

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Q16: What is the Aesthetic - The appeal (what pulls you in?), the new/different/unusual. 

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-big actions

-comedy

-over-exaggerated characters

-out-there humour

-repetitive jokes that get taken to increasing extremes

-gets more and more unrealistic and absurd

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Q16: What is the Mechanical - Technique, Form/structure, Methods, Symbolism.

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Q16: What is the Mechanical - Technique, Form/structure, Methods, Symbolism.

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-song

-comedy

-singing as if to an audience or another person

-acting as if on a stage to an audience instead of one other person

-"If you're in a burning building with smoke everywhere, keep calm, take a deep breath, and stay right there." Ironic.

-Comedy through over exaggeration and silliness, clearly all the examples would cause more harm then good if tried.

-promoting increasingly dangerous activity

-begins naturalistic and devolves from there

-conveys the message through examples that get less and less realistic

-lighting

-use of prop

-use of levels

-synchronisation

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Q16: What is Dynamic in the clip - Surprise, Tension, Emotion and/or Movement. 

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Q16: What is Dynamic in the clip - Surprise, Tension, Emotion and/or Movement. 

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-Beginning by sitting in lap + eye contact

-Movements whilst singing for comedy

-Directs movement outwards like she's performing to a crowd

-Repeated on beat snipping motion with sound effects

-Tension builds to sounds climax as it gets more and more absurd and the examples get crazier.

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Q16: What are the Connections? To other works (in and out of the medium/genre), to history, to oneself

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Q16: What are the Connections? To other works (in and out of the medium/genre), to history, to oneself

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Very different but similar in some ways, the message of this clip reminded me of the tween TV show franchise, "Total Drama Island" which put animated contestants through insane and inhumane challenges to face their fears. The show's conceit was that facing your fears liberated you, but due to the nature of the challenges, the contestants were just being tortured for a cash prize.

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Q17: Think of a recent news event that you are interested in. 

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Q17: Think of a recent news event that you are interested in. 

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Q17: Find a media article that speaks the facts / truth. 

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Q17: Find a media article that speaks the facts / truth. 

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A BBC News article provides a balanced overview of the UK's new immigration policy, detailing the government's plans to implement stricter measures on illegal immigration. The article outlines the proposed changes, including the introduction of new legislation aimed at deterring unlawful entry and expediting deportations. It also presents perspectives from government officials and human rights organizations, offering a comprehensive view of the policy's potential implications.

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Q17: Next find one that goes beyond the truth & adds in hyperbole. 

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Q17: Next find one that goes beyond the truth & adds in hyperbole. 

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An opinion piece from the Brownstone Institute critiques the media's portrayal of the immigration policy, accusing outlets of engaging in fearmongering. The article argues that the media exaggerates the policy's effects, using alarmist language to provoke public outrage and resistance. It suggests that such hyperbole undermines rational discourse and hinders constructive debate on immigration reform

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Why this Nonstop Fear Mongering? ⋆ Brownstone Institute

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Reporters and editors know that fear mongering and panic draw readers, especially around Covid, so they just can’t let go.

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Q17: Thirdly, find a response (perhaps a political figure, ameme, a tweet, instagram post or an article) that incites fear.

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Q17: Thirdly, find a response (perhaps a political figure, ameme, a tweet, instagram post or an article) that incites fear.

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A report from the Davis Vanguard highlights a rally at the Concord Immigration Court, where community members and advocates gathered to protest the new immigration measures. Speakers at the event described the policy as a “campaign of fear and disinformation,” warning that it could lead to increased racial profiling and civil rights violations. The rally aimed to mobilise opposition by emphasising the potential dangers and injustices associated with the policy.

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Immigrant Rights Advocates Push Back Against Fear-Mongering Tactics - Davis Vanguard

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Community members, attorneys, and faith leaders gathered at the Concord Immigration Court to call attention to the growing campaign of fear and disinformation targeting immigrants, and to encourage people to reject misinformation and exercise their constitutional rights.

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Q18: Find 3 youtube clips or reels that show the viewer how to undertake a Wellbeing Trend. 

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Q18: Find 3 youtube clips or reels that show the viewer how to undertake a Wellbeing Trend. 

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Wellness trends that lack scientific support and make my skin crawl as a evidence-based

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Q19: Whilst in your own space, watch this clip/listen to, how did it make you feel? 

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Q19: Whilst in your own space, watch this clip/listen to, how did it make you feel? 

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-The disclaimer was mildly off-putting

-I did lie down

-emphasis on trusting your intuition

-You are in control of this meditation whilst still being dictated by the meditation

-connection between you and the universe, not just you and yourself

-Connection expressed through light

-letting go of what has been, embracing the present

-being present and in the moment, centred

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A Place of Stillness 10 Minute Guided Meditation

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Q20: What from these three clips are your take-aways? What would you like to include in your Ensemble?

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Q20: What from these three clips are your take-aways? What would you like to include in your Ensemble?

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-Diegetic sound used

-synchronisation

-sound-scape using layered noises made by different actors

-repeated dialogue

-cohesive costume through colours

-slow, tense movements

-spotlight

-Transformation of prop into boundary

-extreme characterisations

-Morph, used to transform between characters

-humans as anonymous objects

-depicting conflict or battle in creative ways, not just through fighting, e.g. finger puppetry

-showing a scenario through multiple angles

-minimal space used, forced proximity

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Robin Hood 1  Off Balance, International Devising Theatre Company

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-telling stories using a feminist angle is their goal

-a technique called under over, where you begin by weaving and using each other's bodies to go both under and over,

-following the pattern of one person going over, and the other goes over, then one person going under, and the other going under

-Then introduce dynamics and flow by eliminating the structure of a start and end and making elements more circular

-Utilise speed to convey a message

-Eye contact conveys meaning

-movement script+verbal text

-Sometimes you move together, sometimes you speak together, and sometimes you move and speak together

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RashDash | Devising Masterclass | National Theatre

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-all black costumes to emphasise and draw attention to the movements over the costume

-limited space used

-comedy

-finger puppetry is used

-fast-moving plot

-dialogue said in unison

-diegetic sound to create a soundscape

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Platform theatre "Harry Potter and the Philosopher's stone". Physical theatre/Devising

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WELLNESS TRENDS are often DIET CULTURE in DISGUISE!