The problem with real life, however, is that it can’t be engineered to include the kinds of glimpses into underlying intentions that TV can. Current events don’t come with point-of-view shots, or flashbacks, or revealing soliloquies. Real-life characters develop through their actions and their spoken words, not their thoughts; they develop in real time, in neutral shots, in third-person objective. And that often means that the observing public doesn’t see a conflicted protagonist grappling with the moral quandaries of living a secret double life, but a liar—who says he’s one thing and is later exposed as another.
Oh, absolutely this.
From “Lance Armstrong, Anti-hero” in The Atlantic by Ashley Fetters.