• ' Released: 28 December 2009 • ' Released: 13 April 2010 • ' Released: 10 September 2010 We Are Born is the fifth studio album by Australian singer-songwriter. It was released on June 18, 2010. The album is more upbeat than her previous work, which she partly attributes to her relationship with as well as her childhood influences and. The album was produced by and features guitar from ' guitarist. The album's first single, ' was released in December 2009 and the lead single, ', in April 2010. We Are Born debuted at number 2 on the Australian Albums Chart and was Sia's first top 10 release in her home country.

Sia collaborated with Christina Aguilera and Samuel Dixon on the song 'Bound to You' for the film 'Burlesque'. The song was nominated for the 2010 'Golden Globe Award for Best Original Song'. Sia released her fifth studio album, 'We Are Born', on 18th June 2010. The album received absolutely glowing reviews from fans. Oct 17, 2014. On Thursday, the 43-year-old rapper displayed her dramatically thinner figure as she performed at Alexander Wang's H&M Collection launch in New York City.

The album won Best Pop Release and Best Independent Release at the 2010. The album received Gold accreditation in the Australian ARIA charts in 2011. Contents • • • • • • • Critical reception [ ] Professional ratings Review scores Source Rating (mixed) (positive) (positive) (B+) (mixed) (6.6/10) (7/10) We Are Born was received with generally favorable reviews with a score of 68 at based on 14 reviews. Said: 'On We Are Born the chanteuse explores more caffeinated avenues.It's party music with a heart.' Said: 'While We Are Born may not be as immediate or distinctive a statement as its predecessor, there's ultimately very little about it that doesn't work.'

The album was nominated for a on 26 July 2010. At the 2010 the album was nominated for Album of the Year, Best Pop Release and Best Independent Release. 'Clap Your Hands' was nominated for Single of the Year.

Kris Moyes won best video for Sia's video for 'Clap Your Hands'. Sia and were nominated for Song of the Year at the 2011 for the single 'Clap Your Hands'. Commercial performance [ ] We Are Born debuted at number 2 on the behind Eminem's, at number 37 on the American Billboard 200 albums chart, at number 9 on the Greek international albums chart, number 7 on the, number 38 in Switzerland, number 78 in Belgium, number 14 in Denmark, number 24 in Finland, number 73 in Germany and number 60 in Canada. The album also debuted at #74 on the in the week ending 3 October 2010, making it her first album to reach the top 100 there.

The album received Gold accreditation for shipments of 35,000 copies in the Australian ARIA charts in 2011. Track listing [ ] All tracks were produced. Title Writer(s) Length 1. • ^ Hoffman, Ross... Retrieved 26 September 2011.

• Phares, Heather.. Retrieved 16 September 2014. • Schadewald, Amber (13 April 2010).. • McRanor, Graeme (10 April 2010).. • Goldberg, Michael Alan (7 April 2010)..

• Ambrecht, Wesley (6 April 2010).. Australian Recording Industry Association. Retrieved 13 September 2011. • Lo, Chris... Retrieved 26 September 2011. 122 (26): 32. 31 July 2010.

Retrieved 18 February 2015. • O'Neil, Luke (21 June 2010)... Archived from on 26 July 2010. Retrieved 18 February 2015. • Greenblatt, Leah (16 June 2010)...

Retrieved 26 September 2011. • Lee, Christina (23 June 2010)... Retrieved 26 September 2011.

• Colville, Liz... Retrieved 26 September 2011. • Ganz, Caryn... Retrieved 26 September 2011. • Keefe, Jonathan... Retrieved 26 September 2011. • Laidlow, Matthew...

Retrieved 26 September 2011. Retrieved 27 July 2010. The Sydney Morning Herald. 29 September 2010. Retrieved 14 September 2011. • 28 September 2012 at the.

The West Australian, Retrieved on 2011-06-22 • 11 June 2011 at the. Retrieved on 2011-05-27. Vray Crack For Sketchup. Retrieved 9 July 2013. Official website. Retrieved on 2010–10–28. Retrieved 23 May 2014. • (in Dutch).

Retrieved 9 January 2015. Retrieved 13 September 2011. Retrieved 13 September 2011.

Retrieved 13 September 2011. Retrieved 13 September 2011. Retrieved 13 September 2011. Retrieved 13 September 2011. Retrieved 13 September 2011.

Retrieved 9 January 2015.

—, 'Notes on Journalism' A common belief among film and TV executives is that everyone who watches media has the intellect of. This belief is a root cause of, especially common among shows intended for children. Kids can legitimately be said to be less knowledgeable than adults, though we all probably know a depressingly large number of exceptions.

Of course, there is a 'moron' demographic out there, and it has its members, but executives seem to believe that every person who watches TV belongs in it. This may be due to something known as the '80-20' rule in business—in this case that market-research shows 80% of money spent on television-advertised products comes from the lowest 20% in terms of education and intelligence, so show-content is naturally geared towards them. On top of that, not only are viewers stupid, they are also intolerant of people and things unlike themselves,,, need to be instantly satisfied, and have the attention span of. Leads to: •: Character learns but un-learns it the next time round.

• •: The belief that only children watch cartoons. •: poking fun at intellectuals. • •: a not-subtle-at-all Aesop. •: words that are not foreign, but are put in to 'sound' foreign.

• •: someone is half-foreign. • •: stating the obvious. • Sometimes,: character changes personality with no explanation. • episodes • •: claiming that you've done the research, then proving you really haven't. •: repeating things. • (considerably well-placed compared to others) • •: reusing old storylines under the assumption no one who saw it the first time is still watching • (in advertising) • •: Creators often use this as an excuse when this mentality shows in their work.

• • • • • •: words like 'die', 'kill' and 'dead' are not allowed to be said. • •: The viewers in question are critics, and members of the Academy. •, in some cases. • • •: The creator explicitly spells out a work's message because they don't trust the audience to pick up on the subtext, goes hand in hand with. • •: The creator fails to realize that the strawman has a better argument than the person he is defending. •: making the main character a 'loser' in hopes they're relatable. • • Cynical appeals to reactions (i.e., Show X had little effort put into it, but instead was made to superficially appear artsy in hopes that moronic viewers would watch it not for enjoyment, but rather to feel smart).

• •: Audiences already know that the work is up to date. • •.and many, many others. Interestingly enough, though, this meta-trope sounds worse than it is, at least currently; actually comparing and contrasting the entertainment of today with the entertainment of the past will show that overall, shows demand more of your mind than they used to, probably because we'd be bored if it didn't and partly because things like recorders or the Internet now than in the past (read Stephen Johnson's book Everything Bad Is Good For You for an eloquent explanation beyond the scope of this article). Of course, all that means is that the bar for entertainment is raised even higher, and that viewers will get annoyed more and more easily if things like happen a few times too many. Additionally, the caveat about this being what executives believe about viewers was, at least at one point, not particularly untrue.

In the era of the 'Big Three' networks (, and ), before VCRs and the like, shows really were designed to be simple and supposedly 'unobjectionable' narratives, for fear of making that one third of the entire TV viewing audience tune out and tune in to one of the competitors. This is why television quickly gained the nicknames Boob Tube and Idiot Box from intellectuals who found television pandering and simple. Note that this viewpoint is not particular to network executives. Question some point of continuity for a children's show with a sizable adult, and you are pretty much guaranteed one of the periphery adult fans will insist that it's 'because it's a kid's show and they don't expect kids to notice.' Ironically, kids are often far more aware of such mistakes, not because kids are per se 'smarter' than we expect, but because not having things like a job, spouse, or 'real life' to distract them, they tend to watch their favorites much more obsessively and with more of their minds fully devoted to analysis. ( ) Consequently, children can put even the strictest editors to shame with their awkward questions.

Business administrators and anyone else whose job it is to explain things to others (like a coach or a presenter) know the 'KISS' method (' Keep It Short and Simple', or ' Keep It Simple, Stupid) because of the fear that if something is then no one will understand it, which is certainly true of TV plots. Thus, it's not a bad idea for a writer to assume that their audience are not geniuses and write accordingly, as no one will be entertained if they can't follow along the story. Of course, great care needs to be taken, because if a writer makes their story too simple they also risk alienating the audience who will angrily invoke this trope. Some of it comes from how people use TV, too.

In some households, the TV is just on. The background noise and familiar voices add a comfortable ambiance to a home. These people may prefer programs you can tune in and out of, and not miss much. Face it, not every viewer is like a, analyzing character's actions, and picking apart the plot. This does not mean the person is a moron, but when it comes to explaining the show that they 'watch', they may sound like it to a troper.

For when the viewers really are morons, see and. For the less common polar-opposite, see. When this trope and the latter trope conflict, however, you can wind up with an. For versions enforced by law (or out of fear of a potential lawsuit), see also. Not to be confused with. • by the Authors of as the reason for the creation of these comics.

A example is mentioned in the recommended books of the Freud-Jung-Campbell issue where it turns out that Jung wrote a book for his students, simplifying his ideas, because he wanted them to actually understand what he was teaching. • Crossed with, in.: Col. Tom Parker preaches this on TV, before Elvis interrupts. The setting is a where all libraries are closed. • In, the brothers believe this especially when it comes to RPG gamers who they consider too stubborn to admit they can't beat a broken game the Tanaka's market to them.

This trope is also employed when the brother's explore creating an illusion of depth and consequence in a video game. Jonah Jameson from subscribes to this, whole-heartedly, giving it as his reason for being so unfair towards Spider-Man when Peter asks. • Inverted in by Roger Mellie; the TV executives are usually the ones insisting that viewers want to watch highbrow material, whereas Roger's pornographic retoolings of popular shows inevitably end up being massive hits.

Pat: (sarcastically): Good, Joe. • Subverted in; while Wood shows a blatant disregard for things like visual continuity and set quality, and justifies this by saying that no-one really pays attention to the smaller details, he does so because he's projecting his own way of watching films onto the audiences, rather than considering them to be. Well, morons.

• points out this is a driving factor in a lot of reform movements targeted at the fast food industry, so at one point Naughton interviews several people to reveal that the ability to recognize that fries and a cheeseburger is a high calorie meal is. Harry works at an ad agency. He says he doesn't get an ad. Ellsmere suggests it's because Harry doesn't have any brains.

Harry's boss leaves no doubt this trope is in effect. 'Do you suppose for the average person who sees this picture is going to have any brains? We're not trying to be intellectual, Ellsmere.' • In, George goes on a rant about how advertising treats customers like this. • In, this is Rizzo's justification for trying to pose as Mickey Mouse — 'They're tourists, what do they know?' • Wayne Gale from is a firm believer in this; he even explicitly calls his millions of viewers 'morons'. • In, Rittenhome makes it clear to Goodwin he's not intimidated by the prospect of being exposed, because nobody cares if the quiz shows are honest or if the contestants aren't really earning their fame and fortune.

Floyd Ferris writes the propaganda piece Why Do You Think You Think? For the general public, whom he believes have the intellectual ability of 'drunken louts', and Dr.

Stadler agrees with his premise enough to not publicly protest his methods, even though Ferris has cited Stadler's own research, completely out of context, to prove his points. Stadler's agreement with this trope is also why he had the State Science Institute founded in the first place. Many regular people in this universe seem to play this trope straight, although it is also hinted that acting on it is actually. • Invoked in the short story Day Million, as an omniscient narrator who's describing life in the 28th century grows increasingly angry with what he assumes to be the present day reader's ignorant disbelief.

• In, repeatedly applied to the tourists who come to visit Kelso and especially Smailholm Tower, even to the point where they are mocked by the children for thinking there's 'not much to this place'. Granted, even in its ruined state it seems a bit ignorant to assume there was never any significance to it, and dismissing it does come across as insulting. But it isn't as if they can tell what role it used to play merely by looking at it, let alone know about the aspect. Still, the statement that the tourists had 'brought with them to Smailholm Tower the interest and imagination they would take to all the other places on their tour', that they 'look at a lot of places and never see anything' sadly has some in it. The more your musical experience, the easier it is to define for yourself what you like and what you don't like. American radio listeners, raised on a diet of _____ (), have experienced a musical universe so small they cannot begin to know what they like. • constantly spoofs this trope by having an adult character say a word, then assume that the orphans wouldn't know what the word means and try to define it for them, to which one orphan or another (usually Klaus) almost always interrupts 'We know what it means.'

The author also often uses various words and phrases in the actual narration, then explains them in a humorous way as they apply to the situation at hand, such as describing 'takes the cake' as 'a phrase which here means that more horrible things had happened to them than just about anybody' in The Reptile Room. The Baudelaires are generally shown as being far more intelligent than anyone gives them credit for, and the routinely underestimate them and never put much stock in anything they say, something which usually results in more unfortunate events. Leading to those who ripping off the 'a word which here means.'

Maeby: Why are we even going after this idiot demographic? • Used in, when called upon at a trial as an expert witness, Brennan goes on about the skeletal remains as though she was talking to fellow scientists, using and hardly stopping to take a breath. The prosecution was furious with her behavior, but she refused to talk down to the jury, believing that they could follow her.

She later had a talk with her superior on the matter, who rationally explained to her that most of the world is unfamiliar with the very field she is a master of and that presenting things in a simplified manner will allow her expertise to help the case. • Discussed and then subverted on. In the episode, Geoffrey Zakarian was very surprised at the ingredients the home viewers chose for the contestants, thinking, 'They could NOT possibly know about those kinds of ingredients.'

• Delightfully mocked in the story The Daemons, which shows the production of a TV broadcast from an archaeological dig. Myra: Will people know who is? Sean/Beverly: Yes.

Myra: Are you sure? Beverly: Do you know who he is? Myra.The writer guy? Beverly: There you go! • On, Garth has a very low opinion of that isn't him, and treats the audience and many of the people he works with like they have single-digit IQs. • On, Victoria Coren claimed the BBC's coverage of the Diamond Jubilee Pageant was this, with it being aimed at 'some imaginary idiot'.

• A in the episode 'The Gang Makes Lethal Weapon 6.' Mac keeps improvising dialogue and has to be repeatedly told that the viewers aren't as dumb as he is.

• In, during 'Who can produce a better commercial' Spenny claims it doesn't matter if the pizza he's making doesn't taste good because kids can't tell what good food tastes like. • Played with when appeared on as the presenter reluctantly gave the details to contact for a copy of the recipe Harry was cooking, which was and. • In, this is apparently one of Pyramid's mission statements, as they knowingly produce programming that is some combination of crass, obvious, or stupid but which still draws big audiences.

For example, after Alan changes the title series in the Series 5 episode 'Dock Cops' from a gritty detective series with a middle-aged male lead to a campy action series with two young female leads, audience figures skyrocket. • In, perfectly straightforward advertising pitches are often rejected on the assumption that potential consumers would be either confused or bored. • has a sketch all about this, where a TV executive suggests showing the last five miles of a highway; the show gets ridiculously high ratings.

In the same sketch, the aforementioned executives decide to change the titles on old TV series to make them seem new (e.g. 'I Married Lucy'). • Discussed in, between Will and Mackenzie during their first meeting. Will is a seasoned professional who believes in its validity or inevitable applicability, while Mac is a defier who thinks there is room for intelligent content in the news. She manages to convince Will of his error, but they have to on one occasion when the ratings plummet. •: • Phill Jupitus derides the fact that when discussing Cpt. Flint, the parrot in, the picture of him on Long John Silver's shoulder had the parrot circled.

• Lampshaded repeatedly whenever a picture of a common object is shown when Stephen goes, 'There's a picture of a _____, in case you wanted to know what one looked like.' •: • Caesar rehearses how to favorably spin and manipulate a peace proposal in terms accessible and understandable by the hoi polloi (a derogatory word for the masses, the riff-raff). • Antony affably taunts Brutus for giving a speech 'too cerebral for that kind of audience'. Antony instead delivers (offscreen) the other famous full of energy, and dramatic effect that. •: • In the episode 'The Butter Shave', the same NBC executives who had previously offered Jerry a pilot now offered bad comedian Kenny Banya a chance at his own pilot since he does jokes the viewers don't have to think about too much.

• This trope was also used in 'The Comeback' when George explains to Elaine and Jerry that he will not dumb his joke down 'For some boneheaded audience', which cues everyone in the diner to look at him. • In the episode ', the network executive Brad Redding is concerned the audience will not understand how the ghosts in Hell could hear the chanting. Marty agrees to add in an, and the next time the scene is filmed the following additional dialogue has been inserted. : They must have super-hearing!

• Parodied in a sketch on. Are facing critical failure and try to recapture their past glory with new works such as and. When all of these prove to be even more unsuccessful, Gilbert and Sullivan decide the shows weren't 'accessible' enough and they need something more in the style of their last popular hit - so they write an incredibly crude and racist operetta about, which is a smash. As Sullivan asks 'you don't think we've.

Cheapened ourselves?' And Gilbert replies 'Nah.' • Lampshaded in the first episode of. King is a novelist who is adapting his adventure series for an American TV network, but the executive he's pitching to insists on dumbing it down. • In, Abstergo Entertainment, a newly formed division of Abstergo Industries which is the modern front for, is seeking to produce a feature film based on.

Their approach to the project is to use their research technology to discover what life was really like back in that era, then edit and sanitize it until it's another piece of -esque schlock, believing that that will sell more tickets. This functions as both a at the real entertainment industry and as a reflection of the Templars' attempts to. • Played for laughs in, if you unplug your controller and then plug it back in, you'll get a sarcastic message saying, 'Good job. Now press the start button.' • Invoked in. There's an email you can read at Picus where one of the corporations execs reminds their writers that people have the collective emotional maturity of a five year old and that Picus should treat them as such.

• Spoofed in. The otherwise ordinary-looking apartment set on has a potted cactus in front of the window to remind viewers that the main characters (who are, naturally, the apartment's tenants) are 'cowboys. Tomtom Karte Central Europe Download Adobe here. ' • Lampshaded in.

At one point in the story we see Gyro (who turns out to be a disturbed psychopath) behind Gladstone hidden behind the door. Then we get a big footnote from the 'Editor' asking the readers to stop yelling 'Turn around!' Since Gladstone is a fictional character and this is a comic so he can't hear the reader any way.

This is in fact a parody of annoying (and often pointless) footnotes found in some of American Disney comics such as. Light argues, on panel, that, to justify the Author playing as Mega Man while the real Mega Man is unavailable. • presents: '.

'lucas is to the blu-ray release of the original trilogy because i guess now that he’s older, he is realizing that you can’t tell a story without having characters so now when vader throws the emperor into the throne room pit, he goes “no. Nooooo.” because before that,, so he just took his helmet off and had a heart-to-heart with luke.' • The rest of argues that it's a subversion, however, claiming that there's never been any sort of pushes in to make it either 'kid-oriented' (liable to fall under this trope because children are the target audience) versus 'kid-friendly' (not as likely since older people are the intended audience, but there's nothing that particularly prevents kids from enjoying it too) - that the series was always.