After reading  Paradoxes of Spectatorship Judith Mayne points out that cinema as an emerging discipline the “responses to appartatus theory are founded on a gap between the ideal subject postulated by the apparatus and the spectator who is always in an imperfect reation tothat ideal” (9). She used the “ideal romance reader” example as a way of explaining this relationship with the intentions of showing the veiwer, as a spectator, that they should be aware of this relationship.  This argument was no doubt very dense and abstract and I found myself understanding her argument better when I thought of a small anectdote from literary history, specficially fairty tales. In Jack David Zipes author of Fairy Tales and the Art of Subversion he explains the universality of fairy tales with the purpose of soothing “the anxieties of children or help them therapeuticallly to realize who they are” (Zipes 6).  During Louis XIV’s reign the french began designing their folk tales into literary fairy tales,  including Cinderella and Little Red Riding Hood.  But these literary fairy tales were “designed to rearragne the motifs, character, themes, functions, configurations in such a way that they would address the concerens of the educated and ruling lcass of late feudal and early capitalist societies” (Zipes 6).  Keeping Mayne’s argument in mind the french arisotcrats were trying manipulate the gap between specatator and the apparatus in order fix imperfect relation and create their “ideal citizens.” This historical anectdote in conversation with Mayne’s article, for me, gives an idea of what the possible consequences of homogeneity.