We live in the best of times in which we are able to learn about the world and its incredible diversity of cultures/beings/places/perspectives in a way never historically possible. We live in the worst of times when we are able to isolate ourselves completely from anything different from our own narrow view/conception of the world/reality. The choice is yours!
Enelow, Shonni. "The Great Recession: Restrained but resilient, a style of acting has taken hold that speaks to an era’s anxieties."Film Quarterly (September-October 2016) ["This is another way to read the emotional withdrawal or refusal in these performances: as a response to a violent or chaotic environment, one that doesn’t offer an alternate vision of an open and embracing future. For even when representing an alienating or unfeeling world, actors of earlier eras generally appealed to the camera and their audiences to receive their feelings and implicitly trusted them to respond generously, either through vicarious sentiment or humanist compassion. Expressive acting—of which Method acting is one dominant form—is built on the conviction that audiences want an actor’s emotions to be in some way available to them. There’s a basic optimism in that conviction: the optimism that the world would be better if we all told each other the truth about what we feel. In contrast, many of today’s most lauded American film actors give performances that evince no such optimism about emotional expression. Returning to Winter’s Bone, for example, it’s clear that within the fiction of the film, Ree doesn’t trust the world to care about her well-being. But rather than contrast her character’s suspicion with an appeal to the (presumably) sympathetic film audience, Lawrence maintains her wariness throughout. Likewise, Mara doesn’t cut Lisbeth’s lowered gaze and near-inaudible, clipped speech with any revelation or outburst that would make us think she could be—or really is, deep down—other than she appears. There aren’t hidden motivations in these performances, and in fact, close to no subtext (the idea of subtext, with its inherently psychological schema, is parodied in Carol by a would-be writer who takes notes on the difference between what characters in movies say and what they really feel)."]