The unruly and boisterous crowd works itself into a belligerent frenzy, foaming at the mouth like wildebeests for just one shot at the unjustly condemned man. In the center of the crowd is a disingenuous, megaphone-toting “reverend” whose bellicose sermons serve only to fan the flames of racial hatred that will cause a potentially innocent man to be effectively stoned to death. Meanwhile in another world at another time, a young white middle class child, groomed in an atmosphere of subterranean racism, is driven to question the social hierarchy of his time by the jovial black family depicted on screen. When entertainment is used to spread a subversive and manipulative message, as it has been in the ongoing brouhaha surrounding the untimely death of Trayvon Martin, it does have the capacity to “dissolve the ties of our social order and involve our country in ruin.” But when it is instead used to simulate an honest and unique social situation, such as The Cosby Showin the 1980s, then it has the power to break down the walls that divide disparate peoples and foster a more accepting society. The media firestorm and racial tension surrounding the death of Florida teenager Trayvon Martin is a prime manifestation of the divisive capabilities possessed by entertainment.