Entertainment is the palliative treatment for a self-awareness which discovers the presence of a vacuum when it attempts to contemplate itself. Unlike a scarecrow, which has a cerebral cavity jam-packed with straw, and is able to fill its own consciousness with introspections and speculations about the curiosity of its existence, the vacuous individual attempts to fill the cavities of its mind with an entertainment foam of commercial trivia. The readily available aerosol froth is normally pumped in under pressure... via one or more of several orifices... where it solidifies into an open celled spongy matrix that is impervious to thought.

The omnipresent availability of this therapy has been made possible, for most part, by the technological development of hardware devices which project an effervescent virtual reality into an everyday domestic domain. Whether the entertainment is in the form of sporting activities, theatrical performances, news reporting, documentaries, reality presentations, or political propaganda, the insatiable voracity of the various television media disintegrates and compresses everything into standard pressurized containers, and then foams it out to the hapless recipients. Because of the social implications of the phenomena, several researches are being conducted under the auspices of an international recreational composting association. One research initiative is attempting to determine if there is a lower limit to the promulgation of programmes and advertisements of benthic imbecility. Initial results suggest quite clearly that there is in fact no lower limit. Another investigation, to ascertain the optimum ingredients for propaganda palatability, is still in progress. Early indications support the casual observation, that presenters who have become famous for promoting themselves with exceptional success are the most effective fronts for capitalising on mass gullibility.

Video technology, and its associated commercialized entertainment programme transmission industry, has become extremely inimical to the creative and artistic appreciation of ritual and atmospheric theatrical performance. The use of the medium to promote self-interest has obliterated an awareness of theatre in much of the population. Companies promote their products and public image; program presenters, actors and sports-people promote their egos; propaganda masquerades as news whenever it suits; and politicians promote whatever expedient brand of public values would enhance their image, at all and every opportunity. A curious demographic phenomena has emerged as a consequence of the video industry. Individual citizens now experience more pseudo policemen, lawyers, criminals, medical professionals, patients, journalists and business-people... in the form of actors getting paid to simulate virtual scenarios... than they would ever be likely to encounter in the ordinary and mundane circumstances of their lives. Many actors, presenters, and sports persons appearing regularly on video media, can now aspire to having their individuality transmogrified into the transient virtual persona of a secular celebrity saint. The fickle and transient nature of fame however, ensures that such celestial status evaporates instantly from the moment the media presence is removed. Such individuals then endure a limbo of virtual existence prior to being subject to the normal absence of any form of life after death experienced by ordinary citizens. It turns out that celebrity flowers of all forms fade and die at the end of the show, and exhibit no more immortality that do gardeners.