Theme 3: Public versus private interactions. Another theme that presents itself when comparing selected callous scenes with selected empathy scenes is the difference in where

empathic versus callous interactions take place. In the selected callous scenes, character

interactions take place in more public areas. For instance, in the Hannah Montana (Peterman &

Poryes, 2006) episode I Want You To Want Me…To Go To Florida (Poryes & Christiansen, 2007), Rico ignores Miley’s anger when she hears her popstar rival’s song on the radio, and Rico turns up the radio and starts dancing in order to make Miley more angry. This scene takes place in an outside restaurant on the beach with many people watching in the background as the loud interaction takes place. Similarly, in the SpongeBob SquarePants (Hillenburg & Tibbitt, 1999) episode Krusty Krushers (Cash et al., 2008), Mr. Krabs tricks SpongeBob and Patrick into wrestling some much larger characters so that he can win money. Later, SpongeBob and Patrick are wrestling the two large competitors and are being beaten and hurt. These two interactions take place in a wrestling ring with an entire audience watching and cheering along. Other callous scenes take place in school cafeterias, on the set of a television show, on a webpage video, and in a hotel lobby. In comparison, the selected empathic interactions take place in private settings, away from any potential background audience. In The Suite Life of Zack and Cody (Kallis, Dreayer et al., 2005) episode Smart and Smarterer (Kallis, Lapidus et al., 2005), an empathic moment between Zack and his teacher takes place in a classroom where nobody is present except for Zack, the teacher, and Zack’s mother. An empathic confrontation in Big Time Rush (Fellows, 2009) between James’ mother and three other mothers takes place in a hotel room with only the four mothers present. Other empathy scenes take place in bedrooms, backyard patios, or private homes.

More than just the location, a comparison between the selected empathic and callous scenes reveals that there is a difference in privacy regarding who else is witnessing the

interaction. While many characters are present to witness the callous interaction, the empathic

interaction has few witnesses, if any, even when the interaction is occurring in a more public location. For instance, in the episode Going For Gold (Lapidus & Correll, 2006) from The Suite Life of Zack and Cody (Kallis, Dreayer et al., 2005), London is sitting in the main hotel lobby, lamenting her failed clothing store when Moseby, the hotel manager, sits and talks with her.

Although the hotel lobby is busy, the conversation is quiet, the camera is focused closely on London and Moseby, and the presence of others in the hotel lobby is minimized. Comparatively, a callous scene from that same episode shows Arwin, the hotel janitor, being confronted

aggressively by his arch rival, Irv, in the same hotel lobby. In this instance, several background characters interact with the scene—two ladies run away from Arwin who is sweating profusely after a run and one older lady looks at him after he trips over her suitcase. Rather than a private interaction, the conversation between Arwin and Irv is loud, and their movements cover more of the hotel lobby - there is not the same sense or privacy as the empathic scene from the same episode.

A similar contrast is found when comparing an empathic and callous scene from Big Time Rush (Fellows, 2009). In Big Time Girlfriends (Spingarn & Schill, 2010), Katie and Reginald are watching an argument between Camille and Logan, who are dating. During the argument, Katie and Reginald comment to one another about the specifics of the argument, such as who is making the best points and how it will affect the relationship. While commenting, Katie and Reginald are smiling and eating popcorn, clearly enjoying the distress of Camille and Logan. This entire interaction takes place by the very public pool of a hotel and many background characters are present. Further, the argument, along with the commentary by Katie and Reginald, are loud and there is no real attempt at privacy. This is very different from the empathic scene in Big Time Mansion (Menendez & Spingarn, 2010) where Katie listens to her mother sadly reminisce about when her children were younger. Katie comes to understand that her mother feels unneeded and so Katie pretends to be sick so that her mother can take care of her. This interaction takes place in the private hotel room of Katie and her mother. No other characters are present during this

interaction and it is a special moment only between a daughter and mother.

Given the above contrast analysis, the overall message is one in which callousness is less intimate and more effective with an audience. Empathy, however, is a very personal interaction

between two individuals. Although this may portray empathy positively, it also creates a narrow view of when and how to demonstrate empathy to others. Viewers may come away with a false sense of the environment most conducive to empathic displays, one in which there is a prolonged, private, and meaningful interaction. In reality, empathy can be displayed publicly, more subtly, and for individuals with whom one is not even in the same room. However, with repeated exposure to private, intimate empathic interactions, viewers may come to narrowly define and recognize empathy in their own lives and relationships.

2.2.3.4. Theme 4: Remorse. Conflict is to be expected in the selected callous scenes by the very fact that one character will be mean, rude, or indifferent to another character.

Nevertheless, even in the selected empathy scenes, the interactions between characters are not always free of friction. While both the selected empathy and callous scenes can include discord between characters, in the callous scenes the conflict is not followed by remorse whereas remorse is an important part of reconciling characters in the selected empathy scenes. In fact, at times the initial friction in the empathy scene is necessary to allow for the empathy; the empathizer starts the interaction frustrated with the empathizee before coming to experience the empathizee’s emotions and motivations.

One example of conflict leading to remorse can be found in The Suite Life of Zack and Cody (Kallis, Dreayer et al., 2005). In the episode Health and Fitness (Nemetz & Correll, 2007), Zack’s mother, Carey, wants Zack to eat healthier so she makes him avoid all sugary snacks.

However, at the end of the episode, she finds him in the hotel kitchen, eating ice cream straight out of a large bucket. Immediately she gets mad at Zack and lectures him for eating so unhealthy.

When Zack begins to look sad and ashamed, however, her facial expressions soften, she reaches out to Zack, and she apologizes for forcing him to avoid all sugar which then led him to gorge himself later. Carey comments on how difficult her dietary restrictions must have been for him and agrees to help him learn balance and moderation.

Another example of remorse in the empathy scenes can be found in the episode Big Time Moms (Fellows & Holland, 2011) from the television series Big Time Rush (Fellows, 2009). Near the end of the episode, the mothers of Logan, Kendall, and Carlos confront James’ mom

regarding her desire to take James home, which would result in the break-up of the boy band and

the end of James’ musical dreams. The three mothers meet James’ mother aggressively and accusingly. However, when James’ mother becomes sad and explains that she only misses James and wants him closer to home, the three other mothers soften. Each of the mothers mimic the sad expression of James’ mom and explain how hard it must be for her to be separated from her child for so long. To reconcile with James’ mom they come up with a plan to make sure she is able to speak to and see James more often.

Similarly, in the SpongeBob SquarePants (Hillenburg & Tibbitt, 1999) episode Driven to Tears (Brookshier et al., 2007), SpongeBob, who is jealous that Patrick has his license, litters while Patrick is driving him around town. Patrick is arrested and sentenced to prison for littering.

At first, SpongeBob is very angry with Patrick and happy that Patrick’s luck has turned until his conscience leads him to feels scared about what the prison environment will be like for Patrick.

After thinking about how hard jail will be for Patrick and how scared Patrick will be when there alone, SpongeBob finally confesses that he was the person who littered and he should receive the punishment.

The concept of remorse is not present in the callous interactions from the selected television scenes. In the Hannah Montana (Peterman & Poryes, 2006) episode I Want You To Want Me…To Go To Florida (Poryes & Christiansen, 2007), Miley’s popstar rival, Mikayla, repeatedly insults Miley, who then returns the insults. Eventually Miley’s own father and Mikayla’s agent become involved in the argument. However, despite the many mean comments made to one another, there is no point throughout the episode where reconciliation happens.

Instead, the conflict continues to escalate, and further arguments ensue. Even in conversations with other characters, Miley and Mikayla do not appear apologetic for their aggressive and biting comments.

In the SpongeBob SquarePants (Hillenburg & Tibbitt, 1999) episode SpongeBob’s Last Stand (Springer, Banks, & Iversen, 2010), Squidward callously rejoices when he believes he will never have to see SpongeBob again if the Krusty Krab closes. Even though SpongeBob is crying and very upset at the prospect of losing his job and the friend he believes he has in Squidward, Squidward ignores SpongeBob’s pain and instead smiles. At no later point does Squidward experience remorse for acting callously or hurting SpongeBob’s feelings.

As the contrast analysis highlights, remorse is a part of empathic scenes. Using remorse in empathic scenes presents an overall positive message about empathy. Not only do the television shows demonstrate a way in which remorse can lead to and include empathy, but they also offer examples of how recognize one’s own mistakes and act apologetically. Characters who display empathy are not always entirely innocent, but their demonstration of remorse provides viewers with a template for apologies and gives more nuanced understanding of empathic characters.

Further, not including remorse in callous scenes gives viewers the message that when acting anti-socially, part of the negativity comes from failing to apologize and make up for the mistake, whereas in empathic scenes, remorse and empathy helps in resolving relationship conflict. If children pick up on the demonstration of remorse in empathic scenes, the positive message about admitting mistakes provides children with another understanding of how empathy can be used to bolster relationships.

2.2.4. Study One summary. Although teaching children about empathy is not typically