Joanne Woodward.' Now they say, "There goes somebody I think I know. The owner of a Hollywood hotel in an area where many movie and TV actors reside reported that tourists had switched their allegiance to TV stars. Moreover, most TV stars are men that is, 'cool characters," while most movie stars are women since they can be presented as "hot" characters. Men and women movie stars alike, along with the entire star system, have tended to dwindle into a more moderate status since TV. The movie is a hot, high-definition medium. Perhaps the most interesting observation of the hotel proprietor was that the tourists wanted to see Perry Mason and Wyatt Earp. They did not want to see Raymond Burr and Hugh O'Brian. The old movie-fan tourists had wanted to see their favorites as they were in real life, not as they were in their film roles. The fans of the cool TV medium want to see their star in role, whereas the movie fans want the real thing. A similar reversal of attitudes occurred with the printed book. There was little interest in the private lives of authors under manuscript or scribal culture. Today the comic strip is close to the pre-print woodcut and manuscript form of expression. Walt Kelly's Pogo looks very much indeed like a gothic page. Yet in spite of great public interest in the comic-strip form, there is as little curiosity about the private lives of these artists as about the lives of popular-song writers. With print, the private life became of the utmost concern to readers. Print is a hot medium. It projects the author at the public as the movie did. The manuscript is a cool medium that does not project the author, so much as involve the reader. So with TV. The viewer is involved and participant. The role of the TV star, in this way, seems more fascinating than his private life. It is thus that the student of media, like the psychiatrist, gets more data from his informants than they themselves have perceived. Everybody experiences far more than he understands. Yet it is experience, rather than