Style, Subtlety, and Tact. Innocence Is Always Unexpected

In writing dramatic screenplays, we often have "The Fool Triumphant." This Innocent always plays the heavy. The Innocent has to do all the moral heavy lifting. In Comic Books, heroes are naive and act like virginal buffoons stumbling over their innocence in classically pathetic ways. This is where drama can be comic and grotesque

Although immunity is an illusion, these stories are always supposed to come with a moral ending. The antagonist or bad guy is usually a sociopath. Although the heel is embroiled in totally self-important emotional poverty, ideally good conquers evil, at least for a while. But usually, there's a little bad guy in all of us.

The unexpected moral virtue of these strange and often beautifully grotesque simpletons is innocence. The stranger does not use the courts or the authorities unless it is for collective good. Selfless and fool-hardy, the Innocent uses emotional leverage instead of hostility to neutralize opposition. Generally, our gentle heroes wander through life, losing everything, before getting it all back again with a lot of hard work. Yet they never know how hard what they are doing is. The Innocent always make the impossible look possible. And they are usually invisible, unknown, and changing with the random whims of fate or fortune.

Now that's drama. Melodrama, on the other hand, is when the villain thinks they are the hero and overacts. Preening and self-absorption is the domain of the bully. We have a classic heel in the White House.

"The world will be saved by the voices of the children." Innocence is always unexpected. Welcome to the Guardian Fellowship. We accept all.