Horkheimer and other Critical Theorists argued that the Culture Industry didn’t offer “the people” a means of transcending the status quo. 10MONDAY2020 can only be used on orders that are under 14 days delivery. This struggle is caused by the convergence and remediation of traditional mass media and digital media which then creates a fusion of the virtual and real world (Caslin, 2007). So whereas EastEnders attempts, in certain ways, to subvert or at least change the status quo, other soaps mainly reflect it (if with added drama, humour, etc.). With the integration of Internet in our lives increasing, pseudo-realism is becoming more relevant as consumers struggle to distinguish between different media platforms and real life (Adorno, 2007; Caslin, 2007). And even if producers and writers did know, they might have argued their case as to their support for the status quo. The term culture industry (German: Kulturindustrie) was coined by the critical theorists Theodor Adorno (1903–1969) and Max Horkheimer (1895–1973), and was presented as critical vocabulary in the chapter "The Culture Industry: Enlightenment as Mass Deception", of the book Dialectic of Enlightenment (1947), wherein they proposed that popular culture is akin to a factory producing standardized cultural goods—films, radio programmes, magazines, etc.—that are used to manipulate mass societyinto passivity. The culture industry attempts to satisfy the consumers’ demand for products by making them believe that they can make their own decisions and that they are the ‘king’, which is easily done across multi-media platforms (Adorno, 2001). The main problem with the Culture Industry is not that it accepts the status quo (or that it enforces it), but that even when it doesn’t do so, it doesn’t do so in the required Marxist and totalist (or absolutist) way that Horkheimer demanded. Did Horkheimer mean that the producers and writers of this stuff had an ideological mission — to enforce the status quo? “The paradise offered by the culture industry is the same old drudgery.” ― Theodor W. Adorno, “When I made my theoretical model, I could not have guessed that people would try to realise it with Molotov cocktails.” — Adorno, “The distinction between true and false consciousness, real and immediate interest still is meaningful… Men must come to see it and to find their way from false to true consciousness, from their immediate to their real interest. This process of standardised culture has stemmed from a corporate ideology that is fixed on achieving the largest profits while ignoring the aesthetics and artistic values that culture embodies. The culture industry was described by Cook (1996) as an omnipresent, exploitative phenomenon that commercialises culture in the markets to guarantee that consumers will follow market interests to generate maximum profits. This illustrates the impact of the culture industry across social media platforms as consumers get so absorbed into their virtual world, they get confused and distracted from the real world. Consumers can see through the culture industry but the power that they have to speak up and criticise the market is lost amongst their desire to continue to use that product (Caslin, 2007). It is a new god, not in the sense in which the heralds of the great revolutions conceived it, namely, as a power of resistance to existing injustice, but as a power of resistance to anything that does not conform.”, “[M]odern industrialism, for which the factory is the prototype of human existence, and which models all branches of culture after production on the conveyor belt.”, “[A]s art today is being ultimately gauged in every detail by something that is not art, be it box-office or propaganda value.”, “The paradise offered by the culture industry is the same old drudgery.”, ‘The Culture Industry: Enlightenment as Mass Deception’, Prochaska And DiClemente 5 Steps Of Change, Childhood’s End: 10 Assumptions for a Secular Humanist life.

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