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This article is a philosophical analysis of escapism as a pedagogical possibility, with a particular focus on TV series. Taking my own, as well as students, experience of escapism into TV series as a starting point, that is, their ability take us somewhere far away, something which has become more acute during the pandemic time since we remain more or less self-isolated because of the corona virus Covid-19, the article discusses escapism in relation to distraction and attention in life as well as within teaching, but also in relation to colportage, hope and social justice. According to Ernst Bloch, social justice cannot materialize without regarding things differently. Something that is often dismissed as mere escapism might be a seed for a new and more humane social order, as it can be seen as an “immature, but honest substitute for revolution” (Bloch 1986, p. 368). Drawing on Bloch’s understanding of colportage and hope, as well as Walter Benjamin’s understanding of mass culture and cinema, the article treats escapism and TV series not as something simple, but rather as possible seeds for a new social order and thus as having pedagogical possibilities (Hållander, 2020).

In this article, we explore the role of film in educational settings and argue that testimony and narrative are dependent upon each other for developing ethical judgments. We use the film 12 Angry Men to enhance our thesis that the emotional response that sometimes is intended in using film as testimonies in classrooms requires a specific listening; a listening that puts pupils at risk when they relate testimonies to their own life narratives. The article raises the importance of listening in training narrative ethos in relation to violence witnessed in film. The article contributes by enhancing an understanding of a relational dimension to testimony and narrative, which, in an Arendtian sense, is also put forward as a political relation.