"They're still a far cry from reality, or even the usual escapism," said the banker. "Confidentially, I happen to _know_ that it will be years--perhaps decades--before we make any live contact with the other planets. Our national interests demand that we prevent atomic power from superseding older methods before investments have realized on their holdings to the fullest extent. And it is upon development of atomic power that space-flight hinges at present." "Certainly I understand that--sound business," said Bezdek with his one-sided smile. "I hope they wait for many years." Dorwin looked faintly astonished. "From these pictures of yours I must confess I had derived a totally different impression of your theories," he said slowly, flicking two inches of pale grey ash into the silver tray at his elbow. "Listen to me," said the movie-maker, again leaning toward his vis-a-vis. "We're making these pictures now because when the first man or men come back from other planets our science fiction cycle is finished. It will cease to be _escape_. We will then be faced with the reality of what they really find--and that's bound to be a great deal different from the sort of thing we're feeding them now." "It's a point I hadn't considered," said the banker, reaching for the brandy. He nodded to himself as he poured it, then looked up at Bezdek and asked, "But why this--space opera is the colloquial term, I believe? Why not stick closer to real life?" Bezdek sat back and the slanting smile creased his features again. "Minorities," he said. "That's why. Crackpot minorities object loudly at being portrayed in films they don't like. We don't want to tread on anybody's toes--there's trouble enough in the world as it is. People want villains. But unless we make our villains--even minor villains--people from nowhere we get boycotted somewhere by somebody. And that costs us money." "Yes, of course," said the banker, "but I fail to see--" "It's simple." Bezdek was in full cry now and interrupted openly. "People like conflict in their movies. If it's a Western they want their heroes to fight Indians or Mexicans or rustlers. The Indians and Mexicans object to being the villains and they've got big sympathetic followings. Okay, so we use rustlers or renegade white men and we still make Westerns--but not many. No plot variety." He sipped more soda water. "It's the same with everything else. Unless we're in a war with a legitimate enemy to hate we can't use villains. It's almost enough to make a man wish--" "Not with the H-bomb, Bezdek," said Dorwin frigidly. "Of course not--I was only speaking figuratively," said the movie-maker hastily. "I'm as much against war as anyone. But that's what makes these interplanetary movies great stuff. We can run in all the villains we want--make them just as bad as we want. Audiences really like to have someone they can hate."